AAGNETI FILM á - World Radio History

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NAME

ADDRESS

MAGNETIC FILM &

ECORDING VOL. 3 No. 2 JANUARY -FEBRUARY, 1956

MARK MOONEY, JR.

Editor and Publisher

MILDRED STAGG,

New York Editor

JOHN L. ALLEN,

Circulation Manager

ROBERT W. LAPHAM,

Art Director

CHARLES D. SIGSBEE

Music Editor

JAMES H. MILLS, SR.,

Technical Consultant

ANTHONY J. MORIN, JR.

National Advertising Manager 274 Madison Ave., New York 16, N. Y.

IN THIS ISSUE

WANNA BUY A NOISE Mildred Stagg 22

THERE'S MUSIC IN THE AIR 26

WHAT ABOUT BINAURAL CONVERSIONS? Jack Bayha 30

TALK ABOUT TALKING Shep Sheperd 34

MEET THE MONSTER AT EMPIRICAL C E. Smiley 37

MAKE MONEY WITH YOUR OWN RADIO SHOW John Murphy 40

HOW TO MATCH THE ROOM TO THE ORCHESTRA L. L. Farkas 42

BUILD YOUR OWN MIKE STAND L H. Becker 46

NEW PRODUCT REPORT: AMPEX 612 STEREO TAPE PHONOGRAPH 48

NEW PRODUCT REPORT: PENTRON RECORDERS 50

NEW TAPES Charles D. Sigsbee 6

TAPE IN EDUCATION John J. Grady, Jr. 12

TEEN TAPERS Jerry L. Heisler 14

NEW PRODUCTS 16

QUESTIONS AND ANSWERS 20

TAPES TO THE EDITOR 21

TAPE CLUB NEWS 47

Magnetic Film & TAPE RECORDING is published bi-monthly by Mooney -Rowan Publications. Inc..

Severna Park. Md. (Severna Park 548). Entered as second class matter January 7, 1954 at the Postoffice.

Severna Park, Md., under the Act of March 3, 1879. National Advertising Representative: J -V Associates.

274 Madison Ave., New York 16. N. Y. (ORegon 9-0030). Subscriptions, U. S. and Possessions.

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year. Contents copyrighted by Mooncy-Rowan Publications. Inc., 1956. Printed in U. S. A.

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NEW TAPES By Charles D. Sigsbee

You will notice several new labels in this issue and I am happy to report that the general quality of performance and re-

production is up, a trend that this magazine predicted was inevitable in the very first issue.

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CLASSICAL BRAHMS Concerto #2, in B -flat, Opus 83

Artur Rubinstein, Pianist Boston Symphony Orchestra Charles Munch, Conductor

RCA VICTOR CC -6

Brahms was highly dissatisfied with his D -minor concerto and vowed, after its pre- mier, "The next one will sound different." Twenty two years and 68 compositions later it appeared, and it was different. Different than any previous work for piano and orchestra by any composer.

Because of its major proportions, four movement form and the apparently minor role given to the solo instrument, it has often been referred to as "a symphony with piano obligato." Perhaps so with a pianist of lesser abilities than Mr. Rubinstein, but here the piano is dominant in the hands of the master, permitting the orchestra to share the score, but no more than that.

Together the pianist and conductor com- bine their understanding of the composer's intent to produce a work of the first mag- nitude. This together with RCA's superb sound is cause to label it as a major recording, a fact to be considered when building your basic tape library.

BRAHMS Symphony # I, in C -minor, Opus 68

NBC Symphony Orchestra Arturo Toscanini, Conductor

RCA VICTOR CC -8

Although the critics do not agree, I feel that here is the definitive interpretation of this work in our time. And, speaking of our time, let me point out to those who are inclined to doubt the productivity of men past forty, that Brahms was past forty when he produced this First Symphony and Toscanini was in his 85th year when he recorded it!

Toscanini conducts this recording with a drive and brilliance that is unmatched in any other recording of the work. The "old man" takes hold of his orchestra at the out- set and doesn't relinquish his control for as

much as one semidemiquaver throughout the entire work.

The engineers who were challenged in every recording to meet Toscanini s specifications, have made this one of the very best. I don't imagine that there will be a

better recording of Brahm's 1st to come along for quite some time.

GERSHWIN An American In Paris Porgy And Bess (Suite)

Pro Musics Symphony of Hamburg Hans Jurgen -Walther, Conductor

PHONOTAPES-SONORE PM-IO2

The conductor is conducting, the musicians are playing their very best but, at its best, the music is not George Gershwin. At least, not to my ears it isn't. The question is, why not? The orchestra plays well, the conductor has been applauded in this column for other things and the recording is excellent, so what happened?

My guess is that Gershwin's music is so

idiomatic that when it is given a literal interpretation it becomes pedestrian. Gersh- win is so American that it takes the Amer- ican mind to interpret (or appreciate) him. This theory is somewhat substantiated by the fact that the "Porgy And Bess" suite, arranged by Robert Russell Bennett fares better because here only the thematic material is Gershwin's, the score is Bennett's.

HAYDN Concerto for Trumpet in E -flat

Helmut Wobitsch, trumpet Vienna State Opera Orchestra Anton Heiller, Conductor

HAYDN Concerto for Horn in D

Franz Koch, horn Vienna Symphony Orchestra Anton Heiller, Conductor

BACH Concerto for Three Harpsichords in C

VIVALDI-BACH Concerto for Four Harpsichords in A

Vienna Chamber Orchestra Anton Heiller, Conductor

BERKSHIRE BH 1003

The trumpet concerto displays an amaz- ing amount of virility in its construction as demonstrated here by Wobitsch and Heil- ler. The trumpet is flawlessly presented by the soloist and recorded better than most I have heard. It has a clear, natural sound without any of the piercing effect so often encountered in recordings of the instrument.

The orchestra and soloist are well presented, with good balance and chromatic control. In short, I don't believe that it could be done much better.

The horn concerto comes off fairly well, although the horn is not as well recorded as the trumpet. The balance between orchestra and soloist is about the same in both concerti.

The two Bach concerti are a positive delight to the ear. Heiler conducts Bach with a firm hand and pulls more from his

6

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lual track reels at $6.00 ea., 7" dual track at $12.00 ea. and 7" binaural at $10.00)

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HIFI MASTER LIBRARY LIST 1045 Mozart's Plano Concerto #17 in F Major. 1075 Saint-Saens Carnival of Animals. 1015 Musical Notes from A Tourist's Sketch

Book. 106D Scheherazade, Opus 35 and Tchaikovsky

Romeo and Juliet. B507S Beethoven and Mozart German Dances. 1095 Melodies of Love. B501S The Immortal Kern. B502S Music For Cocktails. 111-D Verdi's La Traviata. 104S Original Dixeland. B510S Charley Christian Jazz. 105 -IS Artistry in Flamenco. B508S Africa. B512S French and Spanish Folk Songs. B513S Sea Chanties. 112-S Tape Parade of Hits -12 Popular

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115-D Beethoven's #3 Eroica, and Tchalkovski's V oyevod a.

105.20 Alfred Drake Reads The Rubaiyat and Sohrab and Rustum.

110D Basil Rathbone reading Edgar Allen Poe's The Raven.

B514D Reading of Dylan Thomas. 8515D Edna St. Vincent Mlllay as read by Judith

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JOIN T.O.M. and SAVE! Every month the club selects a new recording as its tape of the month, and makes it available exclusively to cluh members. Each member re. ceives a FREE 4^ preview . and hears the selection before buying. Full tapes cost club members only 55.95. MEMBERSHIP dues are only 55.00 for one year. Members get 12 preview tapes AND ARE UNDER NO OBLIGA- TION TO BUY MONTHLY SELECTIONS!

Members receive a FREE BONUS tape . of thei selection . . with every 4.h tape of the month purchased!

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orchestra than might be expected under the circumstances.

The solo instruments are back far enough so as not to be overpowering when alone, yet are in evidence during orchestral tutti. The harpsichordists are not identified, yet all seem to be virtuosi of the instrument.

Berkshire Tapes are, based on this, apparently going to be everything they claim in their advertising. If they can maintain the quality evident here, at their price (6.95), they have accomplished a tour de force.

MOZART Concerto #20, k.466

Sondra Bianca, pianist Hans Jurgen -Walther, conductor Pro Musica Chamber Orchestra of Ham-

burg PHONOTAPES-SONORE PM 5003

Miss Bianca and the orchestra get as much out of the second movement of this work as I have ever heard. A sentimental and understanding approach that thorough- ly charms the listener.

The third movement keeps pace with the style set in the second, but the first finds some little disagreement between piano and orchestra. Perhaps not rehearsed as well, it does not impart the feeling of complete unity and rapport that exists in the last two movements.

I find that the balance between piano and orchestra, and sections in the latter, leaves nothing to be desired. The recording is clean and crisp, bur with a slight hiss present unless the treble control is shaded a bit; on my copy, at least.

The minor faults mentioned should not deter anyone from getting the recording, as there aren't any better interpretations available at this time.

MOZART Don Giovanni (Arias)

The Vienna Symphony Orchestra The Vienna State Opera Chorus conducted

by Hans Swarowsky BERKSHIRE BH-1006

Although billed as "arias," the tape actually includes duets, trios, quartets and the whole first act finale as well. Thirteen selections in all, culled from Berkshire's recording of the complete opera which was made from the master tapes of the Hayden Society.

Performance -wise the recording is not at all bad, which does not mean that it is all good. Mariano Stabile's work as Giovanni is not what one would expect to hear in a title role. True, he is identified with the role through his performances at Milan's La Scala, so perhaps he should be seen in performance to gain an understanding of his apparent lack of control in this recording.

On the other extreme. is the magnificent voice of Alois Pernerstorfer as Leporello. He is a dramatic basso, whose spine -ting- ling first act aria, Madamina, it catalogo I questo, would be hard to beat anywhere.

The rest of the performances on this excerpt recording are quite good but the most outstanding things about the entire reel are the recorded sound and the en-

thusiasm of the performance. The dramatic interpretation of Hans Swarowsky is ad- mirably enhanced by the clean, clear and chromatic sound.

Considering the fact that this is one of the few operatic recordings on tape (the only Don Giovanni), coupled with Berk- shire's low price I would consider this a

good buy, in spite of the deficiencies mentioned.

RACHMANINOFF Concerto #2 in C -minor, Opus 18

Geza Anda, pianist The Philharmonia Orchestra Alceo Galliera

COLUMBIA (BRITISH EMI) CAT 253

This tape was very kindly loaned to me by A. E. Foster of the Newark College of Engineering with a suggestion that my re- views have refused to face more than a technical superiority. For awhile the American tape record industry didn't have much more than that, but it was that that brought about the current trend toward musical excellence.

I wouldn't claim that this EMI tape is any better, necessarily, than it's American breth- ren, certainly the ones received for review in this issue. It is, however, an excellent tape and we were happy to have the opportunity to review it.

Geza Anda delivers a sensitive and unique interpretation. I would say that the performance is, to date, my favorite, particularly the second movement, performed with infinite beauty and understanding of the composer's intent.

The orchestra and soloist are perfectly balanced and, together, deliver a definitive masterpiece that will last for some years to cc me.

STRAUSS (Richard) Don Quixote

Boston Symphony Orchestra Gregor Piatigorsky, Cellist Richard Burgin, Violinist Joseph de Pasquale, Violist Charles Munch, Conductor

RCA VICTOR BC -3

I don't see how sound on tape could possibly get any better than this. I don't see it, but it undoubtedly will.

A powerfully beautiful recording that will stand definitively alone for some time to come. Piatigorsky is without peer as the Don and the Boston Orchestra has never sounded better, not even under Koussevitsky.

But most magnificent is the big, rich sound without a hint of distortion or frequency restriction anywhere. It is necessary to cut back the treble control about 10db even on NARTB equalized equipment.

TCHAlKOWSKY Symphony #6 in 8 -minor, Opus 74

(Pathetique) Oberammergau Festival Orchestra Kurt Schwertfeger, Conductor

BERKSHIRE B-2107

Recording sleuths should have a good time with this one. To think that a little Bavarian village of 5000 souls has been harboring, and hiding, an orchestra of mas -

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sive and major proportions! And Kurt Schwertfeger (Oh, come now)!

The recording is magnificent, one of the best. It's chromatic mass, soaring strings and pyrotechnic bass should be exercising high fidelity equipment for some time to come. Coupled with Berkshire's low price (S6.95), its excellence should make it a big seller.

As to the recording's interpretive values, perhaps one should listen to it before buying because there are as many interpretations of the "Pathetique" as there are recordings. Which one is the definitive recording is a moot point because there are almost as many choices as there are critics.

Personally, I like it. For the average music -lover the symphony's principal appeal has always been an emotional one and this recording arouses the emotions, as do few others, no matter how cynically you approach it.

Sound system demonstrators, particularly those with the mammoth speaker rigs, should watch their volume when first playing this tape as the bass is quite lusty. If the volume control is too high during the quiet opening passages, the uninitiated will literally jump out of their shoes during the sudden, dramatic crescendo in the middle of the movement. The third movement will also cause labored breathing and twitching hair follicles under certain circumstances.

Because of its universal appeal to both music -lover and high fidelity fan, I feel that Berkshire has produced, in this recording, a solid hit.

FOLK MUSIC BALLADS OF THE CIVIL WAR

Sung by Hermes Nye with Guitar PHONOTAPES P7T F5004

This is a Folkway's production that is as visual as it is aural. With the reel comes a

30 -page booklet containing not only the words to the ballads but a great deal of interesting historical background as well.

Hermes Nye, an attorney by profession, is an engaging singer from Dallas who handles these songs in an authentic manner that will hold the listener spellbound throughout.

Included in the collection is a ballad, "Davy Crockett," not the one that drove you mad a few months ago, but one that was making the rounds in about 1836. It has to do with a fight that Davy had one day (lasted a day and a night) and is filled with 19th century Tennessee colloquialisms that arouse many a chuckle.

If you like the current hit song, "My Bonnie Blue Belle," then you may be interested to know that in its original, unex- purgated version it was a rousing song of secession.

In all, a successful recording and one that is a must for folk music collectors.

EARLY ENGLISH FOLK SONGS Sung by Cynthia Gooding

AV 802 B

AV Tape Libraries

Cynthia Gooding is an uncommonly good folk singer. Her voice contains such a degree of timbre and clarity ás to gain and command complete attention from her audience. Singing in her natural contralto register, she presents the story line with such enthusiasm that you find yourself listening to the narra-

tive unfold without paying much attention, necessarily, to the musical development.

POPULAR DICK STEWART SINGS

George Wright, pipe organ Trefoni Rizzi, guitar and electric guitar Raymond Clevenger, drums, finger cym-

bals, effects Verlye Mills, harp Sam Cheifetz, bass

William Hamilton, Jr., saxophone, clarinet, flute

HIFITAPE R-401

An exciting adventure in sound from this new Hollywood recording company.

In spite of the title, the outstanding feature of the recording is the unusual instrumentation, not the singer. George Wright's arrangements of, "Ritual Fire Dance," "On A Little Street In Singapore," "At Long Last Love," and "Baia," along with the wonderful engineering job, make this a hi-fi tape find to complement the Wright organ recordings.

Stewart is not a bad singer but, at this stage of his development, he is no world- beater either. However, he is good enough to uphold his end of this recording and, as

we said, here the recording's the thing.

EASY LISTENING MUSIC Bill Andrews, Hammond Organ

CONSOLE TAPE (Wayne, Pa.)

A full hour -plus of electric organ from the company that has set the standard for recording this instrument. A different or- ganist this time, but his style is easy to take and pretty original on the second side.

Side #1 consists of straight arrangements of selections from the Operettas, "Student Prince," "Desert Song," and "Nero Moon." I will label these, "Sing -A -Longs," because that is just what you will do for the most part. I only wish that Mr. Williams had picked up the tempo a bit at spots, I flat on sustained notes. Wonder how "Sing -A -

Longs" would go as a commercial recording idea? Hi-fi in the bathroom!

Side #2 is more stylized than the first, with some of the selections sounding suspi- ciously like multiple track recording. In all. a highly satisfactory tape.

MISCELLANEOUS A Child's Garden of Verses-Robert L.

Stevenson Sung by Russell Oberlin

TAPE -OF -THE -MONTH 8509-A

The record jacket says absolutely nothing about the method of presentation. Here are the familiar lines in a new dress; sung by tenor Oberlin, accompanied by piano and brass!

I am not sure that I prefer it this way, al-

though I haven't lived with it long enough to say for sure. I feel that I would rather hear them from a spoken voice, or perhaps a different approach to the music. The way

they are presented upsets my dream illusion of them after all these years, but perhaps it

will suit you just fine. The recording is excellent and, as I say,

it's all there, it's just that those doggoned trumpets.... Well, you try it and see what you think.

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background noises and reverberation by 73% to provide clear noise -free recordings. Frequency response to 10,000 cps. Has moisture -proofed "Metal Seal" crystal and internal sponge -rubber floating mount for long operating life. 15' cable, satin chrome finish. List price $46.00.

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TAPE IN EDUCATION

T HIS being the time when both predictions and resolutions for the New Year are

in order, a few predictions are presented relative to Tape Recording in Education. They are completely logical and are capable of attainment.

The educators of the nation, many many thousands of them-administrators as well as teachers-welcome the proved efficiency of tape recording as an instructional function. And thousands upon thousands of schools and colleges, particularly those with huge student bodies, where teachers are handicapped by large classes and double sessions, all of them are ready for the installation of tape recording and playback equipment.

The following predictions, if accompanied by parallel resolutions of co-operation from the Tape Recording Industry are certain to be speeding towards attainment in 1956. Educators-parents, too-are urged to use this Educational Section of TAPE RECORD- ING to present added predictions, to make suggestions, to file peeves, and to seek information relative to Tape Recording in Education. Address mail to Educational Section, TAPE RECORDING, Severna Park, Md.

1. Every classroom in the nation will be equipped with a playback unit for auditioning 17/8, 33/4, 71/2 and 15 IPS tapes.

2. Tape recorders, designed for 17/8-33/4 IPS taping, so satisfactory and economical for speech practice and instruction, will be easily available.

3. Instructors in Speech, Music and Drama, all will have tape recorders. (Let's have a lot of support on this one. Why should Physical Ed. rate ALL the equipment?)

4. Adult Education will be expedited by Tape Recording.

5. Top notch Audio -Visual instructors, capable of producing auditorium -filling programs will begin to approach the salaries of football coaches. ("Note: begin to approach")

6. Some university or college music department will produce a magnificent nostalgic CAMPUS MEMORIES tape, featuring glee club, chorus, choir, band and orchestra in Alma Mater favorites. Blended with cheering section yells, pep talks, and the narration covering the old well, the petrified toad stool, the malt joint and such like, the tape will be a "must" for alumni.

. Q R - -

EDUCATIONAL NOTES A new PENTRON tape recorder was

presented to Brattleboro, Vt., High School, by the Class of 1905. This class of oldsters, at a 50th reunion, recognizing the value of being articulate in the highly competitive commercial life, which graduates enter after

BY JOHN J. GRADY, JR.

schooldays, recommended tape recording as

a modern instructional procedure for the benefit of ambitious students of Speech.

Leland C. Smith, Professor, Industrial Design Division, Alabama Polytechnic In- stitute, Auburn, Ala., desires to compare notes with other Audio -Visual experi- menters. Synchronization of both moving and still projections, with sound in a single mobile automatic unit for educational lec- tures, is an objective. Here's an opportunity for a TR manufacturer, a ith a shop well- equipped for research and parts -making, to co-operate with an in -the -field designer. Prof. Smith has roughed a serviceable unit, but mechanical refinements will result in a valuable piece of equipment. What an instructional tool for medical schools and clinics!

Robert M. Coleman, Brookyn, N. Y.. is

proving better days are on the way for teachers. In addition to tape-recording various current from -the -air programs, ap- propriate musical and historical material for his classes, he personally records tapes for future class work. Where a feminine voice is advantageous he utilizes the vocal talent of a younger sister. Pictures and illustrations associated with the taped subjects are filed along with a list of questions for class discussion. That's smart organization. Mr. Coleman states that his tape recorder produces free time for him, This time is available for more parent conferences, for individual instruction where needed, and to dispose of teachers' pet plague-routine desk work.

Francis E. X. Dance, M. A., Instructor in Speech, Graduate School, U. S. Dept. of Agriculture, Arlington, Va. Many speech instructors feel as you do about the personal ownership of economical -in -tape 17'8.33/ IPS tape recorders. They are available, but not many dealers stock them, nor are sales personnel trained to cater to the huge market of Speech devotees. An inquiry to manufacturers advertising in TAPE RECORD- ING will get action. Re pre-recorded educational tapes: The Dept. of Ed. in some states are establishing splendid libraries of master tapes. In other states there will have to be considerable needling. More on this subject next issue.

Helen F. Cutting, Department of Ro- mance Languages, The Woman's College, U. of North Carolina, Greensboro, N. C., desires a Spanish language brochure describing a tape recorder. Suggestion: Contact Prof. James A. Cuneo, U. of Minnesota, Minneapolis 14, Minn.

Lucky Ed Krist, lucky at this time of year, is dared to send a photo of students using a tape recorder under palm tress, by a

swimming pool, in fabulous sunny Palm Springs, California.

12

E NEW

MAGNECORD...the choice of professionals

ecord is proud to introduce the Citation, the finest ble tape recorder in the moderate -priced field. The Citation modern and handsome in design as it is rich and clear hful reproduction. Paneled in satin gold and ivory, cased in ;ome tan cowhide, it quietly blends into any decor. important, the Citation makes it possible for you to afford >sionat levels of full -frequency and high fidelity. It ºorates many features usually found only in higher priced ecorders for professional use. e you decide, see the Citation. To be truly convinced, he Citation.

tame of the Magnecord dealer nearest you, who will assist you ase consult the "RECORDERS" listing in the classified section of your telephone book. for your copy of "207 Ways To Use A Tope Recorder" - c new booklet outlining uses for a tape recoíder in today's modern living.

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From simple wire or tape recorders for home entertainment to complicated equipment and proc- esses used in secret services. movies. Industry and elsewhere, MAGNETIC RE- CORDING brings you C0111 -

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Starting with the fun- damentals of magnetiau and acoustics you progress ranldly to the advanced phases of the art. Biasing methods, distortion re- producing heads, erasing. artificial reverberation (e o It o e s), antplltication. Instrumentation and mess. urements and helpful an- alyses of modern commercial recording equipment. ore but a few of the subteen; covered. Doz- ens of schematics, block diagrams, cross -sections and under -chassis photos make things easy to understand and are invalu- able guides In selecting new equipment or building your own.

for Home

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READ IT 10 DAYS ... at our risk! Dept. MF-26, RINEHART & CO., Inc. 232 Madison Ave., New York 16, N. Y.

Send MAGNETIC RECORDING for 10 -day FREE ELC&SIINATION. If book Is O.K., 1 will then promptly remit $5.00 In full payment. If not, I wiU return It postpaid and owe you nothing.

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Rinehart Books are sold by Ratting book stores.

TEEN TAPERS

BY JERRY HEISLER, National President

INE'RE back again Teen -Tapers, and more enthused than ever. I've heard from a

number of you since the last issue, and it's great to know that you have interest and enthusiasm for that's the most important item. Last time we said that we'd talk about starting some school recording clubs so let's get right at it.

We feel that one of the best ways for teens interested in recording to become more ac- tive is to start a tape club at school. I've started one at my school and it's going along great, and there's no reason why you can't do the same thing. Briefly, here's what it takes.

First we assume that your school either owns or has access ro a tape recorder, some tape, and a microphone. The only other things needed are some interest and a little hard work to start out with. Now, contact the person in your faculty who would most likely be interested in this project. Likely people are, audio-visual directors, science teachers, speech teachers, or any other interested teacher. Once you have this faculty member interested you have a great share of the work done. He can stir up interest and get the cooperation of other faculty members. He can also help with another important thing, getting permission to operate the club. Now you're set to call your first meeting.

Get an enthusiastic announcement made to the effect that a new, different, and interesting group is being formed for those students who are interested in tape-recording, radio broadcasting, dramatic reading, tape correspondence, and so forth. At the first meeting your big job is to retain the obvious interest in the group shown by those who attend.

Throw some suggestions out for discussion as to what the club could do around school both for fun and for school service. Some ideas are: learn how to operate equipment and make good recordings; make a

memory album of interesting events (a sort of yearbook in sound); produce taped radio programs for broadcast throughout the school; exchange tapes with schools throughout the country and world; provide recordings for departments of the school. With these suggestions you'll be surprised at the interest you'll start up and before you know it the members will have many more ideas of their own and will be very anxious to get started. At this point, you should end the first meeting on a high note of enthusiasm, and make plans for the second meeting at which time the club will really get organized.

At meeting number two, we really get rolling. An election of officers is in order, and all necessary action is started to get the club officially recognized. In my school, permission must be obtained from the student council after a charter is drawn up. Once

r_ -

the president is selected, discussion should be opened as to just what areas the club wishes ro specialize in, be it general recording, radio broadcasting, tape responding, or what have you. This choice will govern your actions. Whatever you choose you should make immediate plans to start at it right away, A lot of discussion will cause the members to get bored, while immediately starting out on a project will bolster interest. If you're going to broadcast, plan a show; if you decide to begin a memory album, pick out the next important event coming up and plan to record it.

Also plan on having the audio visual director, principal, dealer, or some one else well versed in recording, drop around at your next meeting and give a demonstration and short course on recording. Since your activities center around recording, this is very important.

There you have the basic idea. We've told you how to set up the organization, and get started. Once you're started you'll naturally proceed along your own special interests and can have as much fun as you care to provide for yourself.

Teen -Tapers is here for you and to help you with your interests. All through the year we will be giving to you suggestion aids and projects. We'll exchange ideas, and answer your questions. We have a number of things in the planning right now. In short order, we'll have the official Teen -Tapers Club charter, and membership cards ready, as well as a detailed outline on how to operate your club. Tape Recording is also going to offer us a special Tape Club group subscription rate. Once you have your dub planned or organized, let us know about it so that we can iñclude your group as an offi-

cial Teen Taper Club. All Teen -Taper Clubs will be requested

to write to us telling of their activities so we can compare notes. Outside of the opportunity of exchanging ideas, the services of Teen -Tapers column, the reduced subscription rate, and the opportunity for meeting other tape clubs around the world, the clubs will be independent and unrestricted. How about it? Sound interesting? Get going now and start a tape club among your schoolmates and when you do, be sure and let us know so you can become a member of our group.

We want to take a minute here to thank those who dropped us a line. Alan Caruba, down at the University of Miami in sunny Florida, says the column looks interesting to him. Garry Ball, at the University of Nebraska Ag school, writes to tell us that when some of these clubs get go'ng the radio station at the U will be glad to exchange tapes. We heard from John L. Ott out Pitts- burgh, Pa., way, and John is also very enthusiastic. My very good friend via tape, Roy Trumbull, in Corte Madera, California,

14

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it for mufoc- .ility,

duro 100 U

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for 21

rr dis- e nest

IRP.

York

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in in - 11/2

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has also sent in a lot of ideas and he is anxious to see what we teens can do.

You'll be interested in the story which appears on pages 10 and 41 of this issue.

Jimmy Sterrett, a high school student, found a way to make his tape recording hobby pay and had a lot of fun doing it. There's no reason why other teen agers in high school couldn't do exactly the same thing. All it takes is a recorder, a bit of imagination and some leg work.

Let us hear from you now, and tell us of your interests. If your school wants some suggestions le: us know, and also write in for our Teen -Tapers kit with more detailed information. It is now in preparation and will be sent as soon as it is ready. We're anxious to hear from all teens, whether in clubs or not, and whether in high school or college. Keep 'em spinning gang and we'll be taping you soon.

Ten Steps To A Tape Club

I. Get a faculty sponsor interested. 2. Round up a tape recorder. 3. Publicize the group.

i. Call a meeting and discuss the club.

5.2nd meeting: organize and elect officers.

6. 3rd meeting: start rolling. Ilave demonstration on recording.

7. Plan into the future for projects. 8. Read Teen -Tapers for suggestions

and ideas.

9. Vi rite tc Teen -Tapers, c/o TAPE RECORDING Magazine, Severna Park, Nd., for details, charter, and membership cards, which will be ready shortly. Be among the first to have your name listed to receive these.

10. Have loads of fun with your club.

STATE..sl1.NT l;Gril'IiIED 11V 'fill: ACT OF -\1 GUST 24, 1912, AS .Ut}LED 111 Till: ACTS OF \Ltltl'II 3, 1933, A\\1) JULY 2, 1916 (Title 39, 1 mud States Code, Swot,[, 2:.3) S11015 INp; 'fill; OWNERSHIP, 1IANA(;EMI-\T. AND CIRCULATION UP Magnetic Film and Tape 11m:oulmg published bi-moutirlo at Sr,eit s Pat k, M.1.

1. The battles and addresses of the publisher, editor. mmU.sgurg editor, and business managers air: Publisher dark Mooney. Jr.. Severna Park. Md. Editor Mark Mooney, Jr., Seveina lark, Md. Slannging editor none ltusmess manager none

2. The outer is: (If owned by a corporation, its name and address must be stated and also immediately dissembler the names and addresses of stockholders uienmg or holding 1 percent or more of total amount of stork. If not owned by a corporation, the names and addressees of the individual ounces must Mr given. If owned by a partnership or other unincorporated tlna, Its name and address, as «ell as Wat of each individual member, must be oren.) Meroney-Rowan Publication:), Inc., Severna Park, Md.; Col. Chas. E. Emery, 7 wardour Drive.. Annapolis, Md.; Robert W. Lanham, 16 W. Hamilton Street, Bal- timore 1, Md.; Thomas Grogan, Jr.. Italtlmoro life Building, Baltimore- 1, Md.; Mark Mooney, Jr.. Seretua Park. Md.; A. J. \lorin, 274 Madsen Ase.. \1C 16.

3, The known bondholders, mortgagees, an -I other security holders owning or holding 1 percent or more of total aniount of Maids. mortgages, or other securities are: (If there are none, so state.) None.

4. Paragraphs 2 and 3 Include, in cases «here the stockholder or security holder appears upon the hooks of the company as trustee or in any other fiduciary relation, the name of the person or corporation for whom such trustee Is acting; also the statements In the two paragraphs show the atflant's full knowledge and belief as to the circumstances and conditiorat under which stockholders and security holders who do not appear upon the hooks of the company as trustees. hold stock and securities in a capacity other than that of a bona tide miner.

5. The average number of copies of each (untie of this publication sold or distributed, through the nails or otherwise, to paid subscribers during the 12 months preceding the date shown above aas: (This formulation is required from daisy, weekly, seml«eekly, and tri- weekly newspapers only.)

2l.\Itl: MOONEY', ill., Publisher Sworn and subscriber -1 before me this 30th 'lay of September. 1935.

JEAN MARIE COVER. Notary Publle (Sly commission expires Slur g 1957)

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15

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NEW PRODUCTS

DYNAMU STEREO PLAYBACK sí*

Dynamu Magnetronics Corporation, Mai - co Building, Minneapolis I, Minn., has introduced the Dynamu Duosonic stereophonic tape playback. It is a 2 -piece unit, encased in mahogany wood cabinets, and features a binaural tape transport with extended range Dynamu playback heads and a matched set of two preamps, two amplifiers and two speakers. The unit also plays monaural tapes, and it is priced at 5249.50. For complete specifications and information, contact the manufacturer at the above address.

EMERSON 900

éri 111.1,

tome

Emerson Radio and Phonograph Corp., Fifth Avenue at 59th Street, New York 19, N. Y., recently introduced the Emerson Model 900 tape recorder. This machine features a single central control that selects the tape direction; auxiliary controls which se-

lect playing speed, set volume, record or play back, adjust bass -treble response, and, when desired, cut out the speaker during recording; and an automatic locking device to prevent accidental tape erasure. Model 900 is

housed in a handsome, compact, scuff -re- sistant cabinet, smartly styled in shades of green. It is priced at S 192, and conies complete with a crystal microphone, power supply cord, a reel of sound recording rape and one take-up reel. For additional information and specifications, write to Emerson.

OMISSION Acknowledgment of photographs used in

the article entitled "Tape Your Way to Folk Dance Fun," in the last issue, was omitted. Credit is due Sandra Rosebrook, Jud Spen- cer, and Ross Wagar for most of the pictures.

ORRADIO FOLDER

A new folder entitled "How Magnetic Tape is Made," which completely describes and illustrates in six photos every step in the manufacture of magnetic recording tape, from start to finish, is being offered free on request by ORRadio Industries, the manufacturers of Irish Ferro -Sheen tapes. It contains a great deal of information about the quality control, as well as the manufacture, of the tape. For your free copy, write to ORRadio Industries, Inc., Department 72, Opelika, Alabama.

PERMOFLUX MAESTRO

,..-. ^ .,.. .-- --.W..--

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Permoflux Corporation, 4900 West Grand Avenue, Chicago 39, Illinois, has

announced the release of the "Maestro" speaker -headset control box which permits the use of headphones with any high-fidelity installation. The "Maestro" contains a

volume control; has two jacks, and the case

has a mahogany finish and gold finished perforated front panel. The control box is

priced at $10.50 net and additional information is available from Permoflux.

SCOTCH 150 TAPE

Minnesota \lining and Manufacturing Company, 9011 Fauquier Ave., St. Paul 6, Minn., has introduced "Scotch" magnetic tape No. 150, which offers 50 per cent more recording time than conventional tapes. It features one -mil polyester "weather -balanced" backing made from DuPont Mylar film for resistance to changes in temperature and humidity and also for greate: strength. This tape is maroon in color and is available in lengths of 900. 1800, 3600, and 7200 feet. It is priced at 57.95 for 1800 feet on a 7" reel. Further information may be obtained from the manufacturer.

16

FEN -TONE TAPE DECK Meet Hermon Hosmer Scott, Audio Pioneer!

1 Afrs. oa 'UAL -RACK

tJ I9

1I;.

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l! {

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4 y

Fenton Co., 15 Moore St., New York 4, N. Y., has introduced a new 3 -speed tape deck, the Fen -tone Brenell Hi -Fi. It has three independent motors-capstan, feed and take-up; is provided with instantaneous mechanical braking; permits either 33/4 and 71/2 or 71/2 and 15 ips operation; has frequency response 50-12,000 cps at 71/2 and 30-15,000 cps at 15 ips; wow and flutter is well under 0.2%; and the Brenell Hi -Fi heads are completely mumetal-shielded to eliminate any 60 cycle hum and they meet all NARTB requirements.

This unit is priced at $79.50 audiophile net. Additional information is available from the manufacturer.

TURNER "CHIEF"

1 4t~

The Turner Company, 948 17th Street, N.E., Cedar Rapids, Iowa, is marketing a new desk mike designated "The Chief," which is recommended by Turner engineers for amateur, P.A., tape recording and similar uses. Model 807 is "The Chief" with a

ceramic interior which has a frequency response of 80-7,000 cps with a level of -55 db; Model 808 has a crystal interior which provides a response of 70-7,000 cps with a

level of -46 db; Model 809 of "The Chief" series has a new magnetic interior, response of 100-8,000 cps and a level of -52 db. All models have a die-cast alloy case, baked -on grey enamel finish, 6 feet attached fabric covered cable and standard 5/e" 27 -thread adapter for stand mounting. Prices range as follows: 510.85-Models 807 and 808; 514.95-Model 809. Further inquiries may be made to the Turner Company.

Mr. Scott is well known for his significant contributions in measuring and reducing noise. Scott noise level meters and ana- lyzers are widely used in industrial labora-

tories and Scott's remarkable invention, the

Dynamic Noise Suppressor, uncannily eliminates noise from all records and poor broad-

cast reception without any loss of music. As

every audiophile knows, Scott manufactures

a most distinguished line of audio equipment.

Typical of the quality components that bear

the Scott name is the versatile 210-D, a

combination preamp-equalizer, power ampli-

fier, Dynamic Noise Suppressor, and featuring unusually complete tape recording facilities. "In designing equipment for per-

fectionists," says Scott, "associated com-

ponents must be of equivalent caliber. We

find the wide dynamic range and tonal response of the Berlant Concertone most

useful in our laboratory test and design work. Of equal importance, we find we can

depend on it in continuous daily operation."

Visit your Berlant-Concertone distributor this week for a demonstration of the unusual

features that have made Berlant-Concertone

the first choice of audiophiles, according to

a recent independent survey The Concertone

recorder is priced from $445. The Berlant

Recorder with hysteresis synchronous motor,

specifically designed for broadcast and

recording use, from $595. Both recorders

are available as complete sound systems with matching playback amplifiers and

speakers. For detailed literature fully describing these recorders, write Dept. 15-i

H. H. Scott

A el A e N r -- 210-D Amplifier

Berlant-Concertone

';ñ? personal choice

of leading audio manufacturers

uct,tE Audio Division of American Electronics, Inc. 655 West Washington Boulevard Los A.geles 15 California Consult Recordata Division for industrial requirements

17

tpE tr pro ,c101,

teas

opt <at , bock e'' xxe

makea y li3 a``son

with

INVERTERS for changing your stor-

age battery current to

A.C. r' oejelcoed ELECTRICITY

41Kq 2 e

. in your own car! \c.

mounted :out of sight under dash or in trunk .

compartment! N

11,,

'i

11:

'^ÉASr00 ATR INVERTERS

especially designed for operating standard 110 volt A. C. .

TAPE RECORDERS DICTATING MACHINES

WIRE RECORDERS ELECTRIC RAZORS

for EXECUTIVES

^

OUTDOOR MEN

SALESMEN REPORTERS

PUBLIC OFFICIALS FIELD INSPECTORS

POLICEMEN DOCTORS

FIREMEN LAWYERS, ETC.

See yowl joaez oz wUte jactozcy N NEW MODELS 'NEW DESIGNS NEW LITERATURE

"A" Battery Eliminators. OCAS Inverters, Auto Radio Vibrators

AMERICAN TELEVISION 8 RADIO CO.

2..alay P+áucta Semec /93/ SAINT PAUL 1, MINNESOTA, U. S. A.

I TAPER TREND TABLE

Taper Trend Products, 320 N. Webster, Naperville, Illinois, is marketing a new steel table which is adjustable to various sizes of TV sets, recorders, phonographs, etc. This table has 3 -sided triangular ta- pered legs which are rubber tipped ano will not mar floors or carpets, and is available in black, gold bronze, or maroon finish. The table dimensions are 18" high, 21" deep, with an adjustable width. Com- plete information and price is obtainable by writing to Taper Trend, above address.

AMPRO "CONSOLETTE"

( 0

Ampro Corporation, 2835 N. Western Ave., Chicago 18, Ill., has introduced two new model "Consolette" tape recorders, the 757M and 757B. Designed to fit into any home decor. these handsome instruments are available in either Honduras red mahogany or "Prima -Vera' blond wood finished cabinets. They feature an electronically -balanced two -speaker system, an amplifier bypass for high fidelity hook-ups, frequency response of 40-12,500 cycles per second, 3 and 71/2 inches per second speeds, electro -magnetic piano -key controls, automatic selection loca- tor, and an electron eye recording level in- dicator. The price of the "Consolette" models is S279.95 for either; matching stands are available at $ 17.50; and recorder -radio com- binations are also available at S34.50 extra. Write to Ampro for complete details.

MAGNECORD CITATION

A new streamlined tape recorder, the "Citation," F35 -B model, has been introduced by Dlagnecord, Inc., 1101 S. Kil- bourn Ave., Chicago 2.4, Illinois. This machine is two speed: at 33., ips frequency response is from 50 to over 5.000 cps, plus or minus 2 db; and at 71/2 ips frequency response is from 50 to over 10,000 cps, plus or minus 2 db. It also has a phone jack on front, high impedance microphone input, an illuminated V.U. meter, a built-in pre -amplifier, a 6" x 9" speaker, and a control knob with safety interlock to prevent accidental erasing. The "Citation" has a

signal to noise ratio of 45 db-half track, .3% flutter, is styled in a brown leather case with a satin gold and ivory paneled face with ivory controls and inset detail in gold, and is priced at S349. Complete information is available from Magnecord. Inc., above address.

E -V PATRICIAN IV

-.`- ,. x .-''''4 -

a I(

Y I' The Patrician IV high-fidelity 4 -way

loudspeaker system has been announced by Electro -Voice, Buchanan, Michigan. This unit is tailored to fit the corner of a room, and it has three special controls for proper balance to room acoustics. The manufacturer claims that it provides a tremendous sweep and brilliance of reproduction and minimizes intermodulation and transient distortion. The Patrician IV features the finest hardwoods with Blonde or Mahogany veneers in hand -rubbed finish and is priced at $772.50 net. For complete information, write to Electro -Voice, above address.

"AMPEX PLAYBACK"

Ampex Corporation, 934 Charter Street, Redwood City, Calif., is now issuing a small pamphlet called the "Ampex Playback," which features information concerning Am- pex advancements, activities, facilities and personnel. This monthly publication will be an up to date summation of Ampex products and policies. A copy may be had free of charge by writing to Ampex.

18

NEW BEL CLEER TAPE -on

ING

BEST

BUY

only

;995

TY IRDER -ding ex - board for r faithful track re - rase aye- igle tape.

button; 'erica and , radio or )s. With

I take-up

89.95 i 1956 rALOG p In elec- rnt for the reorders, s, mixers, I neticers, Ing tope, xe, octet. - Way.

6

and a IR

"on the

others e caos, with a r. R from useful -

planes, e. Sold :oupon

Motor

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ND R£ORDIN6' 6 pig/

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The Saint Cecilia Co., Ltd., P.O. Box 55, Westwood, N. J., a newcomer to the tape field, is now marketing "Bel Cleer" sound recording tape. It is available in either acetate or Mylar base, and in standard sizes or bulk. Mylar base features claimed by the manufacturer include extended frequency range, virtual elimina- tion of drop -outs, head wear reduction, and unexcelled adhesion of oxide to the film, as well as protection against temperature changes. Each reel of tape is packaged in a dust proof polyethylene bag prior to being placed in its attractive hinged box. For additional information and price, write to The Saint Cecilia Co., Ltd., above address.

UNIVERSITY MASTER

University Loudspeakers, Inc., 80 S. Ken- sico Ave., White Plains, N. Y., has just introduced the Master, a "Decor-Coustic" 3 -way speaker system. The speaker and network components used in the Master are the University C15W dual impedance woofer for rich sonorous bass, the 4409 "reciprocating flares" horn speaker for full- bodied mid -range, and the HF-206 super - tweeter for smooth, brilliant highs to beyond the range of audibility. Crossing over at 700 and 5000 cycles through the N-3 Acoustic Baton, precise adjustment to room acoustics is maintained with the built-in "brilliance" and "presence" controls. Available finishes are Cherry and Blond Mahogany, and the system measures only 37" H. x 28" W. x

191/4" D. For additional information and price, write to University Loudspeakers, Inc.

3 Speaker

Hip -Fi =

Tape Recorder

with

SEPARATE "ROVING" SPEAKER

lop , ''l 1,

:1

'24950 LIST

Most complete line... 5139.95 UP

Ofher'56 models, $129.50 fo $595.00

... exclusive UniMagic Control

Only the new Pentron Emperor recorder offers this newest concept in audio pleasure. The Emperor's "roving" tweeter in a separate baffle, perfectly balanced with 2 heavy duty woofers in the recorder, reweaves the whole complex beauty of the music even at low volume. Don't miss the experience. Hear and feel this difference in audio dimension-see the Emperor's bold incomparable styling at your Pentron dealer.

Push pull 10 -watt amplifier. VU meter. Automatic index counter_ Instantaneous braking. Frequency response 40-12,000 cps.

6 GE51 EXCLUSIVE

/ MA

PENTRON

OF

116 -SS TAPE RECORDERS

PENTRON CORPORATION 787 South Tripp Ave., Chicago 24, III.

19,

' HI-FI

MANY SURPRISES

HIGHEST Fl

LOWEST PRICES

7 'z -llnwellH=F THREE -SPEED TAPE DECK

At last, YOU can have tape in your High. Fidelity system. Here Is the tape desk that meets NARTB requirements and actually is in world-wide. use In broadcast stations. Three speeds (33/4 fps, 71/2 ips, 15 ips), three motors, heads in mu -metal shields which effectively eliminate any 50 or 60 cycles hum of motors and transformers.'Rec- ord/Playback head has novel azimuth adjustment making it ideal for playback of all makes of pre- recorded tapes. 7" reels

Audiophile Net $79.50

PRO -2

TAPE PREAMPLIFIER Designed to provide Ht -Fi recording amplifications and playback pre - amplifications and bias/erase oscillator stage for both MOTEK and BRENELL decks. Three position NARTB equalization. Outstanding features: VU -Record level meter; -62 db Hi -Z mike input; 0.5 volt HI -Level high input; 3 -way switch selected inputs; all inputs on front panel and another Hi -Level on rear panel; Response 30 - 17,500 cps, ± 2 db.

Audiophile Net $79.50

FREE! 1956 /rat[/nte Cata- log. The above are only samples of the many terrific values in the new 1956 Fen -Tone Hi -Fi catalog including mikes, tope decks, cartridges, record changers, silent listening devices, etc.

FENTON COMPANY 15 Moore Street, New York 4, N.Y.

Sold through better Audio Distributors. See yours today! I

West of Rockies, prices slightly higher.

See us at the Los Angeles Ill Fl Music Show. Boma 456

QUESTIONS & ANSWERS

Questions for this department may be sent on tape or by means of a postcard or letter. Please address your queries to, "Questions and Answers," Film and TAPE RECORDING,

Severna Park, Maryland. The most interesting and widely applicable questions will be

used in this department and all inquiries will receive a tape or letter reply.

1 would appreciate your opinion of how permanent recordings on tape are.

I have been offered a fair price for my record collection and was wondering if I

could transfer the records to tape, sell the records and then depend upon the rape to store my collection. Would the sound on the tape evenually fade?-J. W. S., Amarillo, Texas.

A There are quite a number of people H who have already done what you are contemplating, not only to dispose of the records but to save space.

Tape recordings made years ago are still good as new and with the recent advent of the new Mylar-based tapes the storage and aging problems are completely eliminated. The tapes should be kept at room temperature or lower and away from any magnetic fields which would affect the recordings. Otherwise no special precautions are necessary.

Recently a friend and I each pur- II chased the same make of recorder. My friend's recorder is a double track and mine is a full track. I have tried to make duplicate tapes on both of these recorders in connection to another make of recorder. On the newly recorded tape on my recorder there is no quality whatsoever. Could it be a mis -match? What would you advise me to do to get a good quality duplicate tape?-L. F. B., Saginaw, Mich.

AYour trouble can be one of three different things which can happen be-

tween any two recorders regardless of make. 1-In making your connection be sure you connect the high impedance output of one recorder to the high impedance input on the other. 2-Be sure that both machines are connected to the same power supply. If the two are plugged into different light outlets noise and hum can develop which will interefere with the quality of the recordings. 3-The proper type of cord must be used for the interconnection. This should be a .shield. rinele-conductor microphone cord with the proper type of plug at each end.

When I use my recorder and the micro - 14 phone with the wire supplied I get excellent results. If I add one or more exten- sions I get a very annoying hum. The cables I am using are heavy duty, shielded and plastic covered. The line jacks and plugs are also shielded. Can you advise what the cause of the hum is and what I

can do to correct it? This hum is also pesent when mixing several mikes thru an electronic mixer.-E. A. L., Shillington, Pa. n -So me of the ccrystal mikes are high li impedance and are particularly suscept- ible to hum, as are some pre -amplifiers due to design characteristics. Try ground-

ing the shield of the microphone cable to the frame of the microphone. If this is already placed and does not eliminate the hum your only recourse is a one-to-one isolation transformer having high impedance or low to high used with a low impedance microphone provided, of course, that your recorder pre -amplifier has sufficient gain. The isolation also applies to your mixer problem in which you are getting some of the ground return noise.

14

I have a rather odd bit of trouble about which I do not know what to do. There

is a 21" TV set nearby which is not on the same power line yet it causes my radio to oscillate and ruins some recordings. What would cause this and how can it be cor- rected?-J. T. Z., Micco, Fla.

Certain types of oscillators in TV sets M do radiate a signal especially in the region of 15,750 cycles per second. We are unable to say how it is getting into your radio but we rather suspect it is traveling the power lines. We would suggest that you try a "brute -force" filter on the AC line to determine if this is the cause of the trouble. The sweep circuit of the TV set should be shielded also. A second pos- sibility is that either the TV antenna or the power line is acting as a radiator, actually broadcasting a signal that your radio picks up. You can call your locacl FCC agent to find the name of your local TVl committee to whom you can tell your problem. These committees are usually made up of radio hams who keep TV set owners happy by fixing filters on the sets to trap interference caused by ham radio stations. In your case the shoe is on the other foot- you have a TV set that is causing interference in the broadcast band.

O12SoI. i NING MUSIC EASY

L[SSE

TAPE TAPE NO. 4

BILL ANDREWS "EASY LISTENING MUSIC"

SELECTIONS: Student Prince. Desert Song. New Moon. earls with its selection of songs. 17 numbers In all; Side No. 1.

Beyond The Blue Horizon. Tip Toe Thru The Tulips. Penthouse Serenade, As Time Goes Irv, Paper Doll. Ilot Canary -16 numbers in all; Side No. 2.

ALSO: Tape No. 1 and Tape No. 2. Organ Selec- tions by Ralph Bonds. You'll like them.

7" Reel. 7%g Ip.s., Dual Track. $10.95 ea.

Dealer Inquiry Invited

CONSOLE RECORDING STUDIOS Wayne, Penna.

20

EDITOR

.ase use the 3" reel and indicate the speed at which it was le track. We will listen to your tape, make notes from it for use tape. Please keep tapes reasonably brief. r will be acceptable. Address tapes or letters to: The Editor,

Md.

tape they will become your property and ny and you may play and copy them as desired. be new We hope you will pass this information )RDING along to the readers of TAPE RECORDING I a few magazine as we believe a great many of them Today will be interested in details on the flying

ientists, saucers.-Dr. A. G. Dittmar, Ausahle Forks. study. New York.

,usands made, To the Editor: it and

sprung m like ve not that is

ieorge its on 'lying

nd, a

which meet- iding lerful earth great h of these

:ders 'self. rded ady. II of sau- an- be to

her rks, the rest -ik- iin. ose

eel

of nt a-

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SS

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Regarding a suggestion made in a recent letter to the editor, I have been reading for the blind for some time. If everyone would do it, it would be a fine thing. Then the blind would be able to enjoy current up-to- date magazines. There is plenty of material available for the blind on discs but these are all books. They appreciate being up-to-date as much as anyone and I make up a 3 hour 7" Mylar tape every week or so for a blind friend.

Your correspondent suggested getting someone to read material on to the tape for pay, perhaps a high school student. I would be glad to read for pay for anyone who wants it but I will not accept any pay from the blind. I would be glad to have readers write or tape me if they want someone to read to them on tape. I am quite sure I

would be unable to take on many people to read to but perhaps I could act as a clear- ing house for both parties and get a lot of folks together that way.

Such a program might be very helpful to blind people and give others an opportunity to help the blind. Also, it could be a source of income for a "reader" in serving someone willing to pay the bill IA ho is not blind.-Phi/ Kellner, 10037 Samoa Avenue, Tujunga, California.

There's a double barreled opportunity for those who would rather listen than look -or for those who would like to help the blind by reading current literature on tape. if you're inclined in either direction drop a tape or letter to Mr. Feltner. Ed.

To the Editor: I have just read my first copy of your

magazine. I think it is really "great!" I

only wish I had back copies of ít. Keep up your wonderful articles. They are helpful to me, a neophyte in the hobby.-R. Floyd, Englewood, N. J.

The Back Issues department still has some left and will be glad to take care of reader requests at the regular newsstand price. Ed.

To the Editor: Perhaps some of your readers have taped

r Robert Weede singing Rigoletto. If so I

would like very much to borrow one to make a copy. Will you ask any readers who might have such a rape to write to me.

i

I

I / How good I

I will your k new tape \ recorder be?

0 I

One of the answers lies in the quality of the magnetic recording head-a basic and important part of all recorders. The better the head, the better the performance you can expect. A Shure magnetic recording head insures a unit constructed to close tolerances ... precision specifications ... optimum performance of your recorder.

An outstanding example is the "Micro -Gap." a new, high quality magnetic recording head specifically designed for use in professional studio and fine quality hotne tape recorders. It provides excellent response over an extremely .wide frequency range ... long operating lift- at maximum efficiency. For home recordings of professional stature. or for precision data recording equipment. the "Micro -Gap" cannot be excelled.

The "NIicro-Gap" is the latest of the Shure family of fine -quality magnetic recording heads. When a tale recorder manufacturer announces a model equipped with any of them. you can ht assured of the high quality of the tape recorder .. . for the choice of a Shure head is proof that the manufacturer is giving you the very best.

1,0aa/4

SHORE

Pioneers in Magnetic Recording Since 1939

SHLTRE BROTHERS, Inc. 225 West Huron Street, Chicago 10, Illinois

21

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ti

1

dir

_

f .

.I

Wanna Buy A Noise? by Mildred Stagg

,Veto York Editor

Carrol Bratman holds the device used

to produce the sound of an army on

the march. It consists simply of a frame

which holds wooden blocks strung on

flexible cords. This device has been

used since the earliest days of radio.

.... Carroll Brannan sells noises and has the world's largest collection of sound effects.

í I

WHAT do we use for a cat's meow?" This was one of the questions that Carroll Bratman answered on the telephone while he was demonstrating a versa-

tile animal -call horn for your reporter. Bratman has the largest collection of sound effects, noise -makers and honest - to -goodness drums in the whole world. His warehouse bins contain more than eight hundred varieties of meows, barks, baaas, and moos: whistles, chimes, screeches and moans. The only sound that he can't make is "no!" Whatever a customer demands, be it possible or not, Bratman supplies it- usually within 24 hours.

A quick run through of his reference catalogue reveals 28 categories. It begins with ACCESSORIES and ends with WHISTLES

(1) Imitations (2) Decoys, etc.

In between there are such exotic sound effects as Fretted In.-

struments, Gongs and Tam Tams, and Vibra-Cussion Instru- ments. Bratman offers 24 -hour delivery service and many of his customers take advantage of this offer.

When a customer asked for a record with nothing on it but repeated wolf calls, all that Bratman asked was "What

22

is told that the desired sound e, human species, he whistled ord and delivered it the next tter, was designed to teach a

r by constantly repeating the the long, low whistle in his

Musical Instrument Service, ling name of the company), icians. In addition to owning that can be found anywhere, ied with marimbas, banjoes, s to say nothing of the more a ts.

he various instruments and ithering a half dozen mutes. e brass section of the New Kostelanetz was conducting Suite and he is one of the on Bratman for special in-

:onductors, the Victor -RCA, other recording companies

instruments from Carroll to business comes naturally professional drummer and t concert orchestras before Every man who works for he can understand the cus-

ss after he successfully an- ior an authentic bee sound 3umble Bee." Everyone was ht that the sound could be :ulty. So he bought a little

as a "Bronx Cheer" or rly and our came a realistic :hrough the selection. He

his buzzing. .bought there might be a

for orchestras and others. eight years ago. Today his ationally famous. It's con - I through agents all over ned to say "no." To pre -

employs a large staff of Mans who double as sales- .nd machine shop manned lists. Tuners of all kinds can spot and rectify the

laborate or expensive in- to learn how to use an

lained, "or you won't be tt." He demonstrated the

It's a small wooden in - of a wooden doorstop.

" and it comes equipped s over the reed. Bratman

noises with the whistle, 2g nostalgic tears to the city.

zathing into the mouth - the reed. With the slide tle produces several low

r

f,

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- Top. Mr. Bratman demonstrates how the marching men sound effect is used. The frame is raised and lowered rhythmically to produce the necessary cadence of marching. Center: Two wooden blocks faced with ordinary sandpaper will make quite a realistic train sound when held close to the mike during recording. Lower: The clop -clop of a horse is simulated by plopping two cocoanut halves or a wooden board. The shells may also be worked in gravel or other material to suggest the horse traveling cn a road, across a bridge, etc.

23

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Upper left: the best sound effect for sleigh bells is just sleigh bells. The shoo has bells

and gongs of all shapes and sizes to produce any effect that might be wanted by a re-

cording studio, radio station or orciestra. Upper right: practical sounds, such as tie in-

audible dog whistle that can call a dog without disturbing the neighbors are sold -n the

;tore. Another practical sound device w th a purpose is the Audubon birc call which

produces a squeaking noise to attract birds. Left: a realistic rattlesnake that's perfectly

harmless. The fiberboard box contains the batteries and a vibrator. On the end of the

vibrator is a twist of cellophane coitainirg bird gravel. When the current is applied the

vibrator shakes the gravel inside tie celophane producing the sound math by a very

angry rattlesnake. Lower left: Mr. Bratman works an alarm clock bell on a wooden block

while his assistant sets the wind tc howl'ng by turning the crank on the wind machine.

Lower right: you are looking at two dog bark devices. The small hon can ze made to

sound like a dog and Mr. Bratman is making a short stroke with a canvas pad on a rosined

string which is attached to a can that is in turn attached to a wooden box to amplify the

sound.

e- . t -

of a bear, or a doleful moo. Thistle sounds like a soprano :n cackling, a baby crying or ound effects cost only $4.25. .ton and have the right sound You have to practice on any in produce exactly the effect

ever, these gadgets are far nical sound effects that are

meow that he was asked supplied in any of several

it live," Bratman said. "That nald Bain. He specializes in and TV companies use him

ecord of a real cat meowing. in cut it in accurately when °st and least reliable is this." 'cloth, gaily decorated with .d horse. It was a toy dating toy up or down or sideways a iut but it was neither realis- ne it was moved.

item is a smaller whistle d noises, a duck quacking, a

tackling. A whistle so tiny 'es a snipe's call. Any noise

some that Bratman would with permanently because

ns available that reproduce re's one antique horn that's ou can close your eyes and hip getting under way. To wides a box with tin sides the sound of a train rush - whistle so that two people

train racing along with its s often used to set a mood dio or TV.

items in the huge Latin ants is a "Pico." This is a 3 inches long. It looks like ban orchestras when played bel that reveals that it was fetal stamp, "Made in Eng- from a plowshare in Eng- Cuba it's sent to the U.S.A. rchestra. omobile horns, some yacht horn, you can find them

music at the Carroll Musi- ,t 48th St., New York 36, g -whistle for calling dogs trs.

This unusual shop has then- real bagpipe that can imitate I to operate the gadget that st's trumpet or a bear growl. vy fiber shell. The skin is rein- es through. The rope is rosined pad. Lower: There are plenty is this kettle drum which Mr.

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25

UN'ITED s _

r....11,:1:2m;ux./. -:

--

t/NITEO

64

Inside this giant United DC -7 Mainliner the passengers are enjoying music from tape while the craft speeds along at 365 miles an hour over the mid -west.

There's Music in the Air ... United Airlines equips its fleet of forty-two DC -7's with background music on tape.

THIS year travelers are being carried away, literally, on wings of a song.

The ancient minstrels' dreams of wafting their lis- teners along with melody is a modern reality, dramatized by the recent announcement that United Air Lines is installing Travel Muzak in its fleet of forty-two spanking - new Douglas DC -7 Mainliners. United's action brings to six the number of airlines carrying music by Muzak to all parts of the United States and overseas to all parts of the world.

The heart of these flying music systems is a tape reproducer no larger than a shoe box and weighing only 27 pounds. It was designed by the Presto Recording Corpora- tion especially for service on planes, trains and other moving vehicles.

United uses the music to set the mood for travelers as they come aboard, during dinner and cocktail hours and before landing. Muzak designed two distinct types of programs for United's flights. For long distance trips the pro- gramming experts planned and recorded tapes featuring popular numbers, semi -classics and a healthy sprinkling of tunes from the latest Broadway musicals such as the current hits "Damn Yankees" and Cole Porter's "Silk Stock- ings."

For the flights between the US and Hawaii the programs are built around typical Hawaiian selections played by outstanding Hawaiian groups. Soothing hulas, serenades and dances are carried to put travelers in the languorous mood of the exotic islands.

Originally United installed the Presto APB -12 tape re-

producers on its "prestige" non-stop, coast -to -coast deluxe flights when it first inagurated the DC -7's last year. The huge Douglas planes were equipped with every device to make the cross -continent flights truly luxurious. According to the air line, passenger reaction to the music on these flights was so enthusiastic that it decided to equip its entire fleet of DC -7's with tape reproducers and Muzak travel music.

In addition to being a source of delight for the passengers, the installation of music in airliners is a tremendous achievement in both the technical and artistic senses. Though the concept is similar for ships and trains and planes, installation in aircraft is far more difficult than in the other two. Naturally, in an airplane, space is at a premium and weight is an extremely important factor.

Given the problem of designing a tape system small enough and light enough for aircraft uses, the Presto engineers worked out the APB -12. From the time the stewardess turns it on at the beginning of the flight until she shuts it off after landing, the unit requires no tending. It plays one half of the dual track tape at 33/4 ips and automatically reverses itself when that track is completed, then plays the other half track through to the end. Altogether a total of two hours of continuous background music are provided on both tracks, after which the reproducer can be set to re- cycle or to shut itself off.

The unit consists of a transport mechanism and a built-in preamplifier contained in a standard one -unit ATR enclosure which fits the standard aircraft rack. The frequency response is from 50 to 7500 cycles and the general audio

26

Reprinted. with additions, from "The Presto Recorder"

adio or phonograph system. ected to the airplane's public trol starting and stopping is out to make its appearance r complete control over the tch seat in the plane. m the 271 2 volt UC supply ed is kept constant, despite means of a governor on the

age for the preamplifier is address system amplifier. _ads. one for each track. The the tape is passing from the reaches the end of its run

ntact strip previously affixed uact with the left reversing es the direction of the tape er track of the tape utilizing

reversing strip makes con- )ost at the end of the tape 'he reversing strips are made is a Brady Quick -Label, or

One long strip or two or necessary contact.

,ne for the capstan and one .itches on the tape tension should the tape break. leer had to overcome were Itage aboard planes. If not cause the tape machine to luting the horrible wailing -up phonographs of twenty

the engineers installed the hich permits a very wide ply without affecting the

and tough acoustic prob- for example, is very strong the sound absorbing ma-

: up the noise but the music

trs of research and experi- Iiscovered that music must than the noise it competes

a around" the noise instead to "push through" it. As a trated so that the rich har- o registers are emphasized asembles to best advantage. -oved technique is so suc- :ic can be heard distinctly

cabin. add music to its flights.

that installed music on its Pan American World Air -

used it ever since on its tes, when they inaugurated i as "Champagne Flights." !red with succulent filet accompaniment of "Cham-

sic aloft include Seaboard zt coast system and Japan ing Muzak on its Pacific

a...

`--

a

.

Top: the Presto A'B-I2 tape reproducer which is no larger than a

shoe box and has been designed to fit an aircraft instrument rack.

It plays a 7 inch reel of Muzak music and will automatica ly reverse

itself when one track has been played. Center: Stewardess Jeanette Meyers flips the switch that activates the unit and send the tunes

through ti -e plane's P.A. system. A new device will permit each pas-

senger to control 'he volume at his owr seat. Lower: The inferior of the DC -7.

Today more than ever there is music in the air-even at 15,000 feet and 565 miles an hour. Through the use of tape it is now possible to have music that is not interrupted by the motion of the craft or by vibration. In addition, the continuous playing features of tape and its trouble -free operation have made it a natural for mobile installations.

27

MID

VERIFIED HIGH FIDELITY! ROYAL CORONET Portable Tape Recorder

TWO MOTORS! TWO RECORDING

HEADS!

NEW TAPE COUNTER! THREE SPEAKERS!

NO REEL TURNOVER!

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.- r - For matchless, professional -type performance at moderate price, the Webcor ROYAL Coronet is the finest value on the market today! Actually, it offers you features no other tape recorder of comparable or even higher price has!

Balanced sound system with three speakers and omni-directional sound reproduce music with the thrilling effect of stereofonic dimensions.

Two motors maintain constant speeds at 71/2 and 334 ips. Two recording heads eliminate the nuisance of reel turnover ... permit instant change from one track to the other.

Ecsiest operation with one -knob controls. Input, output jacks. New Veedor Root Tape Counter. Switch permits monitoring with or without recording. Tone control. Fast forward and rewind. Super -sensitive system. Multiple negative feedback circuits assume minimum distortion.

See your Webcor dealer soon for a demonstration of the Webcor ROYAL Coro- net. Ask him too, about the Webcor Library of pre-recorded tapes, with their fine musical selections.

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RECORDING AMPLIFIERS

RECORDING HEADS

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TAPE AMPLIFIER

STERE-O-MATIC PRE -AMP

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COMMERCIAL RECORDING SYSTEM V -M STERE-O-MATIC PLAYBACK SYSTEM

The stereo system used in conversions, including the V -M recorder for which it was originally designed. Pickup is made with two mikes and

recordings made on separate tracks. On playback, one track is played through the recorder, the other is picked up by the new head and

fed to a pre -amplifier and then to a radio, TV or Hi -Fi amplifier and speaker. This will play the "staggered -head" tapes.

What About Binaural Conversions? by Jack Bayha

I)erelopnieni Engineer, V-111 Corp.

.... If you hare the head roont or n 1'-fll recorder you can conrert to stereophonic playback.

IF you are the average tape recording fan, you have most likely heard a binaural or stereophonic playback demonstration at one time or another. At the same time, you

have looked at the price tags and have gone back to trying to enjoy monaural tapes. It is not the author's intent to make you believe you can duplicate a $700 machine for a song, but you may be able to convert your tape recorder to binaural, using the proven fact that binaural sound does not require the ultimate in hi-fi equipment to do a very adequate job in your home.

Our conversion system is based on the V -M method, developed to convert their Tape-O-Matic Recorders for binaural playback. This requires the installation of an additional head to the tape machine, the installation of a preamplifier, and the utilization of the power amplifier of a radio, TV set, or a phonograph, as well as the tape machine's own power amplifier. An examination of the binaural recording and play back process diagram will show how this is achieved.

The V -M machine was originally designed with binaural conversion in mind, and mounting provisions for the additional head and the amplifier were provided for right from the first introduction of this machine on the market. Its manufacturers only recently made the Stere-O-Matic con-

version unit available. We have used the Tape-O-Matic as an example of a typical conversion. The basic ideas set forth can readily convert many other machines, but

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The V -M adapter kit which, while designed specifically for the V -M

recorder, may be applied to machines of other makes providing there is sufficient room to take the extra head.

30

ve been ne with nust be .k head Ian and at care ,roperly rd. The

"

r. In several cases conver- e, and whether this is the you will have to judge by

playback head. The space or you will have to add

e, new tape guides, and ow. Where space is at a leeze in a Maico Dynamu emember the head to be of the pre-recorded tape,

hes from the gap of the shown. (We have de ib- F a 'stacked' head, where her, since these heads are when available are very

advantage. To the con- ,:ausing cross -talk due to and require special pre -

COIL FORM

3OUT 30 TURNS ).20 WIRE

INUM BRACKET

.OIL

cautions). It will be necessary to find a place to mount the head and make some form of mount for it. A number of suggestions are shown; only your ingenuity limits the pos- sibilities. Remember azimuth adjustment is necessary, also a pressure pad and a way of removing it for threading will be necessary on the new head. In this respect an examination of your tape machine will show whether or not conversion is possible. If head mounting can be made, we can proceed to the next consideration.

Under no circumstances attempt to install a conversion on an A/C - D/C tape recorder. Only units which use power transformers and have a 6.3 volt filament supply are capable of conversion by using the unit's own power supply, as indicated.

Most tape machines, while not designed with the conversion in mind, will have enough excess power in their power supply to handle conversion amplifier. This is even more apt to be the case, since we no longer need the power drained by the bias oscillator which is inoperative in play -

3300 22

GND

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AUXILIARY POWER SUPPLY

Left: the hum bucking coil that is supplied with the kit. If you want to convert to binaural and make your own parts the coil is wound on a 3/8" coil form and consists of 30 turns of No. 20 wire. Above: this is the schematic drawing of a.i auxiliary power supply that may be necessary if your recorder does not have enough reserve power to take care of the added drain impcsed by the additional equipment. This supplies both the filament and plate voltage for the binaural adapter hookup shown on the next page.

31

SCHEMATIC BINAURAL ADAPTOR

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VM 12512

RECORD

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HUM BUCK COIL

VM 12525

If you're in the mood to do it yourself, above is the hookup for the binaural adaptor. One I2AX7 tube is used and this must be shielded. The hum bucking coil is mounted in the recorder cabinet and turned to produce the least amount of hum. Both the auxiliary power supply and the binaural adaptor may be mounted outside the recorder in a box.

back. In some tape machines the bias oscillator and the final amplifier output tube are the same unit, being switched in and out of the circuit. Tape machines using this com-

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mon bias and output may be sorely pressed to supply this additional drain, and a separate power supply is deemed advisable. A check of your machine's schematic will indicate whether or not this condition is present.

If you are the very handy type and want to build your own pre -amplifier, the detailed schematic is shown. If not, you might buy a V -M Stere-O-Matic kit, and use the ready wired pre -amplifier supplied. (This kit sells for $16.95, and contains a new head, pre -wired amplifier, brackets, connecting cable, hum buck coil, etc., as well as detailed instructions for installation in V -M machines). If your tape machine amplifier has room for the pre -amplifier you might punch a socket hole to fit, using a Greenlee punch, and install it in your present machine. If no space is available, a utility box obtainable from your local parts supplier may be used as a chassis. It is, of course, impossible to give details for all makes of tape recorders; you will have to check your individual situation. If you are going to put the amplifier into your tape machine, keep it away from the power transformer and the motor as far as possible.

An examination of the V -M Stere-O-Matic kit shown will indicate the amplifier is built around a 9 pin socket with the addition of two terminal strips; this method of construction works quite well when the unit is for installation on the tape recorder chassis. If a separate chassis is used, wire the unit as desired. There is nothing critical about the layout in any way. Naturally good solder con -

Upper: the V -M recorder for which this adaptor was originally designed. The face plates and knobs must be removed to install the heads or any competent technician can do it. Lower: the spacing used for commercial "staggered head" tapes. The distance is measured from gap to gap and must be exact for good results.

32

rice is necessary in this unit nent. The input lead from t the amplifier chassis only, tded at the head end to see cted; if so, leave grounded e, essential that the output about 12 feet long. Single braided shield is adequate. Dlug into the power ampli- g. When soldering, avoid cess heat. in installing this ire insulation to melt, and

tment it is generally best sections at one point only. ble amount of circulating un. It is, of course, neces- ,X7 tube. e picked up by the added

and power transformer, )-Matic kit, the hum buck ow the instructions given 1 greatly reduce the hum ;ed, a coil as shown should in the schematic-it may .s-but an attempt at its d be moved around close fisting the bracket until a trd. n wired and installed, it to be sure that no shorts I that no shorts are pres- 'ou may plug the output V phono jack and check

:s it may be necessary to zt its going into oscilla- etails). In all cases take ilter capacitor, not from .eeches at you, isolate it aal, run a piece of tape rou do, you are ready to Dplifier to the schematic. tg error, we all make at r everything is perform -

Chis is a high sounding o do this right we must a regular binaural tape.

ned up with the record- tdjusting the tilt of the with the tape's recorded maximum highs, or if maximum signal from

ape No. 8476 provides and a section of head d has been aligned you inic sound. )b for many tape fans, thers. If you don't feel Dwever, don't tackle it. l who is a little more

who can do the job rs, all service agencies m on V -M machines.

BEND BRACKET

TO ADJUST

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DECOUPLING NETWORK

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Top: heads which may be used as the second head to pick up the binaural sound. The Maico head is the smallest and may sometimes be squeezed in where others would not fit. Center: if the preamp squeals at you after it is hooked up, add the decoupling network consisting of the 10K resistor and a 10 mfd. 350 v. capacitor. Lower: Final adjustment of the heads consists of aligning them so the gap is vertical. With the Shure head this may be accomplished by bending the frame as necessary.

'i" 1

33

r

..;_ ila Talk About

I)'

Shep Shepherd

Miss Gertrude Folger has taught voice for 14 years at M -G -M and has "graduated" over 300 students, among them producers, executives and directors, in addition to hundreds of name stars and feature performers.

HAVE you ever wondered how a foreign movie star can be brought to America and appear in a Hollywood production within a short time, speaking good English? Or

how an American star can play a drawling cowpoke in one picture, a crisp -speaking business man in another and a bumbling hill -billy in a third? How do they overcome those accents and dialects? Where do they learn the tricks of speech and diction that enable them to adapt to any role? It isn't done with mirrors.

These results are accomplished by a small group of the most patient people in Hollywood, the voice coaches. Best known, and in the opinion of this writer, most efficient among them, is Miss Gertrude Fogler, voice coach at Metro - Goldwyn -Mayer studios for the past 14 years.

Miss Fogler, as she is fondly called on the lot, is held in high regard by everyone who knows her, from the producers on down. With those who are, or have been, her students, esteem is tempered with a bit of awe, somewhat like a school- child regards a stern but lovable teacher.

Voice teachers use no tools of trade other than books, and some method of recording the voice so that the student himself can hear and study his own mistakes-and mark his progress. In the beginning this was accomplished with disc records, a somewhat cumbersome and costly method. With; the advent of tape recorders the path of the voice coach was considerably eased. Now it is possible to record any given lesson over and over on one tape, and finally, to preserve periodic recordings for later study. The storage problem is lessened, loss from breakage eliminated and the cost lowered appreciably.

Miss Fogler has been a prodigious user of magnetic tape since its inception. Her sessions are conducted in a closed room in a small building jammed in between film vaults and a huge sound stage. There are no outside noises or activities to distract attention.

In this remote domain Miss Fogler has taught correct speech to over 300 students, among them producers, executives and directors as well as performers. Katherine Hep- burn, Marlon Brando, Esther Williams, Ava Gardner and Fernando Lamas are just a few of the name stars who have 'taken" from the little white-haired lady with the crystal

tones and the "know-how" they need. Fernando Lamas, the polished Mexican star, is perhaps

the best example of Miss Fogler's mastery of the spoken word and her ability to transmit it to others. Lamas arrived on the big Culver City lot without a single word of English at his command. In just 18 months he was before the cam- eras in his first English-speaking picture and handling his lines flawlessly. It is important to note that those 18 months were not all given to mastering the language. There were a number of other duties and other people consuming his time; drama coaches, photographers, publicity men, etc. Voice lessons had to be sandwiched in. The point is that Lamas learned the English language and learned it well; not just the lines of a movie script as is sometimes the case with foreign performers brought in for one or two pictures.

Miss Fogler considers the tape recorder the best thing that has happened to her profession in years. Because of it the student has a record of his progress which he can hear with his own ears. Oddly, few people ever hear their own voices as other people hear them, and few persons recognize their own voice the first time in a playback. This is due to the fact that we hear our own voice from within, through the inner ear, as it were.

When a new student appears in Miss Fogler's office her very first act is to record a few paragraphs in the student's own natural voice, diction and tones. That recording becomes a guide, revealing speech faults to be remedied and serving as a comparison chart with later recordings to indicate progress. Playbacks of periodic tapes enable both teacher and student to note improvement and thereby stream- line sessions. More important, they are valuable to producers or studio executives in timing the start of a costly production in which the student is to appear.

While students may have speech faults different from one another there are certain rudimentary corrective measures (Miss Fogler dislikes the word exercises) applicable to all cases. She prescribes practice of lip and tongue control in relation to individual consonants and vowels. Once these are mastered the correct pronunciation of whole words comes easily. But the vocal cords and oral cavity are but a part of the whole. She sees the human body as a fine instru-

34

Gertrude Folger, roice coach of 4I -G-11 Studios, says the tape recorder is the hest thing to happen to her profession. in years. here is how she

helps foreign stars t° master the Eng- lish language.

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ng a coaching period. The tapes let the performer hear how she sounds, indicate progress, reveal vements to producers and executives grooming foreign stars for the movies.

tant to the production

o good speech, in reso- les standing or sitting of "at attention," and from deep within the t out of the voice box.

Posture aids greatly in this. The body should be relaxed, says Miss Fogler, but some-

times students have an erroneous conception of what relax- ation means. "They don't relax," she says, "they collapse."

"That's not the idea at all," she goes on, "Relaxing is something like running an automobile. X'hen the brakes are released and the gears engaged the car rolls freely along,

F

35

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.it s . T Fernando Lamas, polished Latin actor, was Miss Fogler's greatest challenge, since he arrived at M -G -M without a single word of Eng- lish at his command. Speaking only Spanish with its fluid mingling of soft consonants and vowels, Lamas ran into trouble with our hard consonants. His now almost perfect speech and mastery of English is a monument to the patience and pertinacity of the little white- haired lady with the ready smile and crystal tones. Perhaps for that very reason she has become one of his devoted fans.

completely relaxed, yet under controlled power. Only when the brakes are applied does tension occur. It is this tension, or holding back, that I want my students to overcome. It is often called stagefright."

Power is another word students are apt to misunder- stand. In striving for volume at the beginning they try to "throw" their voices at some distant point. Miss Fogler again uses an automobile motor example in clarifying the meaning of sound volume. "It's like feeding gasoline to the carburetor," she explains. "As you feed more gas you get more power, and naturally, more sound. With the voice it should be done by feeding more power from the diaphragm into the vocal cords. The result is similar to tossing a pebble into water, causing wavelets to spread outward. The more power there is behind the pebble the farther will the waves travel. It is the same with sound waves."

The tape recorder plays an important part in this phase of the work. Once the student grasps the trick of increasing volume from within he notes an immediate change for the better in speech form. From here on the playbacks show steady improvement. The original recording of the student's voice should, of course, be compared with these later recordings at frequent intervals.

The tapes are important too, in dealing with accents and dialects. A dialect is often as difficult to correct as is

a foreign accent. Both spring from life-long customs and speech habits. Both respond to the same treatment; a series of instructions in good English.

Anyone who has both a dialect and a tape recorder should be able to correct the former with the help of the latter, says Miss Fogler.

The first step would be to record a bit of monologue about, say your old home, or maybe a pet you once had. Don't write it out first. Just talk about it as the thoughts occur to you. Now listen to the playback and note where the speech faults occur. Better yet, have some other fair- minded person point them out. Write down the words that are troublesome, then pronounce each individual letter in that word repeatedly until its sound is familiar. Next pronounce the word itself over and over, sounding each letter as you do so. In a short time the lips and tongue will become accustomed to forming the word properly. Persons from the south, who usually sound R as H, find this method especially beneficial, but it works well with any speech fault.

Miss Fogler uses three methods of recording a student's voice for study and practice; first, reading; second, monologue; third, conversation. There is no singing, though the musical scale is sometimes used in "toning," with no notes being spoken. Rather a humming of the musical scale with the mouth open.

Lessons are spaced as closely together as possible, once daily for five days per week at the start. Length of lesson is adjusted to the student's particular needs at the moment, averaging about 45 minutes. Many former students return for refresher courses, often coming back to Miss Fogler from other studios. She finds this advisable since there is a tendency to lapse into old habits of speech.

Tape plays still another important role in Miss Fogler's profession. As a schoolboy has his books, so must the voice student have his study matter. These are tape recordings of good English perfectly spoken (or as near perfectly as possible). Such recordings may be the voice of an accomplished newscaster, or anyone accustomed to speaking clearly to large audiences. Students are advised to listen closely to each word, rather than sentences as a whole. In other words, pay no attention to what he says, but how he says it. Listening to broadcasters as they perform on either radio or TV is also valuable.

With a tape recorder it is a simple matter to record the voice of any newscaster preferred, and since there is no commercial use involved there is no legal objection to such use of the voice. The student who has his own tape recorder invariably progresses more rapidly than others. Miss Fogler, who came to the United States 22 years ago from France, where she had taught foreign languages, finds one point of similarity among people everywhere. And a rather odd one, at that. They are willing, she says to change anything about themselves except their manner of speech. For some obscure reason they associate their way of talking with personality. Actually, she expains, they are confusing personality with individuality. Personality is something inborn, a spark that will shine through no matter what old or new habits you clothe it with.

This is the most difficult factor of all to explain to the person whose voice you are trying to improve. Often they point to such living examples as Gary Cooper, whose drawl has become a decided asset, never seeming to realize that while Cooper may drawl, he also speaks clearly, distinctly and correctly (unless, of course, the script reads otherwise). Once Miss Fog er gets the idea across that it is not the individuality or personality she wants to eliminate, but the speech faults that may be a hindrance to those very things, a hard part of the job is done. From there on the final goal is reached with the help of an astonishing quota of patience and a good tape recorder.

36

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11.

Photos by Axel Bahnsen

Gin Bottle Seven at the Turf Room in the Hitching Post in Dayton, Ohio. Note the double microphone eg.

Monster" at Empirical Recording by C. E. Smiley

ve Jones of Empirical nicely solred the problem, of cording equipment on location

ig enthusiasts is Dave a. His hobby of record- Eor good Dixieland Jazz sting a full-fledged re- ction of recorded tape i label, Empirical. The is unique in that its re - cation," requiring corn- quipment. This has re- fonster," a portable rack s it is the central char -

The establishment of the recording business became a near necessity several years ago when two of the better young Dixieland Bands in the country, the Dixieland Rhythm Kings and the Gin Bottle Seven, both located in Ohio and well-known to Dave, reached levels of profici- ency which seemed to demand the existence of records. Like many others of the bands' friends, Dave hoped that recordings would be made so he might have them for his collection. However, there seemed to be no indication of interest on the part of the established recording companies, and Dave undertook the production of records, explaining that he "needed an excuse for buying a good tape recorder."

37

For recording the first record, of the Gin Bottle Seven,

a full -track Ampex 350 replaced the low-cost machine which had been used for experimentation and practice. A

variety of microphones controlled through a mixer were used. Although several of the mikes were of good quality, others were not, and the quality of recording varied as the various mixer control settings were changed.

Thus, for the second record, of the Dixieland Rhythm

Kings, a single condenser mike was used, following the

"roving mike" technique. During recording, the mike was

moved to follow the action of the band, in order to record the point of best overall sound balance. Meanwhile, the

recorded sound was being monitored continuously with head-

phones. The results were excellent, since the band was in

fine form at the recording session, and the new system of

recording worked very well. It was so successful, in fact,

that it has been used for all of the recordings which have followed.

The second record had been made "on location," at the

Hitching Post in Dayton, during a special recording ses-

sion outside regular business hours. From some experi-

mental results, it appeared worthwhile to try for recordings made with the bands playing on their regular night club jobs ín order to have music with greater spontaniety. Because of the ordinary bandstand lineups under those conditions, the recording balance occasionally presented a near- ly impossible situation, with one or more of the instruments being too far away from the microphone. The use

of two mikes with a mixer appeared to be the answer, except for the problem of making the mix exactly right on the first try. To have rime to work out the best mix from the two mikes, separate recordings to be mixed later were indicated. For this purpose a second Stephens microphone and a 2 -channel Ampex 350 were added to the sys-

tem. Obviously, in addition to its intended function, this new

system was all set for making stereophonic recordings. It

took only a smail amount of experimentation to show that stereo was much more fun than monaural recordings. Also,

by this time, arrangements had been made for the production and distribution of Empirical recordings on prere- corded tape by Livingston Electronic Corporation. With this outlet for tape, and its accent on stereophonic releases, the new system was put to work making them. All new recordings are now made available as stereophonic tapes, as well as single track tapes and records. For stereo recording sessions, the mikes are handled together as a single unit, using the headphone monitoring system.

With the addition of the 2 -channel recorder a permanent rack assembly became a necessity, just to cut down the time involved in plugging the various assemblies. In

addition, the rack had to be able to be moved anywhere, because of the great variety of recording locations. To meet this need "The Monster" was created.

To mount the two complete Ampex machines, Dave built up a close -fitting, tailor made rack which is spring -mounted on a specially made hand truck. All of the recorder cabling and interconnections are permanently attached as part of the

The roving mike technique usually employed by Dave Jones works

very well. The mike is moved to follow the action of the bond and

the recording is monitored continuously with headphones. This roving mike technique, invented on the spur of the moment, has worked

so well that it is now employed in making many recordings.

spring assembly, making it necessary to plug only the power. microphones and headset to be ready for action. The life expectancy of the various cables is greatly increased, since they are nor subject to flexing, and the connectors do not suffer from the normal wear and tear. The rig supports the recorders for either vertical or horizontal operation. For editing and easiest operation the flat position is preferred. The vertical setup is required by the cramped space of many of the recording locations.

In addition to the traveling required by recording the various groups on their home grounds, more travel is involved in providing for the commercial release of records and tapes. For the production of records, the music is

transferred from tape to the master disc by playing it from The Monster into the superb disc recorder of Mr. E D. Nunn, the producer of Audiophile records, at his Wis- consin studio. For the production of recorded tapes by Livingston Electronic Corporation, copying masters are transferred from The Monster to the Livingston recorders at their New Jersey laboratory.

For transit, the recorder assembly slides easily into a

station wagon. The spring mounting cushions the equipment from the vibration of highway travel and helps reduce the rate of deterioration of the 12SJ7 tubes used in the Ampex electronic assemblies. To date, after travel of well over 15,000 miles, only one of these tubes has been lost, probably from normal usage. Before The Monster was completed, tube replacement was a big item in the budget,

'

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38

truly frightening. stablished, Dave continued as time would allow. So cal records by each of the >in Wetterau, pianist with Now, because of Dave's the schedule covers bands ncluding the Red Onion Bob MielkP s Bearcats of Lewis Ragtime Band of grown so large, full na- has been achieved to go distribution of the tapes. arding activities, Dave is his spare rime from his

Yellow Springs Instru- nanufacturer of precision ker he is working with a

"The Monster" can be used either horizontally or vertically. On location it is used in an upright position as this is most convenient for reading the VU meters and con- trolling the tapes. For editing, etc. the unit is placed horizontally as shown in the picture at left.

group exploring deep inside Floyd Collins' Crystal Cave in Kentucky. There, phone lines have been carried for several miles into the cave from its entrance, and the explora- tion goes far beyond. As communications man and ex- plorer, he rigged a sound powered phone adoption which requires the explorers to carry only a single small phone unit for signalling, talking and receiving. The Monster goes along for the ride on many of the caving trips for recording the various phone conversations between the explorers underground and the surface operators.

Other activities for The Monster include some operation doing custom recording for -Dayton and Yellow Springs clients. Also, some work is done for the benefit of students and the drama and music departments at Antioch College in Yellow Springs. And, as might be expected of any recorder, this one turns up at some of the better parties, both for recording and occasionally to provide the entertainment.

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g would not fit in the station wagon and the quizical look on Dave Jones' face might have been But now, affer months of use, he slips it in and out with ease. Right: the unit in position in the car.

at the front hold it in place. The rig is spring mounted and 'so trouble has been encountered riles of travel.

39

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For jobs away from power lines Jimmy Sterrett uses power from an ATR inverter in his father's car. The recorder is a standard home -type RCA machine with dual speed and dual track. As the radio station has single track equipment, Jimmy records on only one track of his tapes.

MANE MONEY WITH YOUR OWN

by Jolrtt DlurpLy

ADIO SHOW

. . Teenager Jimmy SlerrcNt using a home type recorder is

srrccessJtrll producing Ids orcrt, shows

SHORTLY after Jimmy Sterrett purchased his RCA tape recorder, he decided to try his hand at earning money with it, not a great fortune, but enough to keep the

hobby alive and pay its own way. His first thought was a

radio program, something suitable to his locality. As a start, he chose to build a program around high school foorball.

Jimmy went to his local radio station, WHJB, in Greens- burg, Pa., and explained his idea to the station manager. He inquired whether or nor the station would he interested in buying the show, and the manager explained that they did not buy programs.

"Where do you obtain your programs?" asked Jim. The manager proceeded to explain the cost of station time, how a sponsor pays for air time, and the cost of producing the show, plus whatever profit you expected to make. "Once you locate a sponsor, bring the program back and we'll be

glad to put it on the air," promised the manager. It took all of two weeks for Jimmy to locate a sponsor.

He made a sample program to demonstrate his idea, and visited store after store, trying to stir interest. Finally, an

insurance company in a neighboring town was sold. They bought the program for the complete football season.

Complete with sponsor, Jim returned to the station manager, and a 15 minute program was scheduled on Fri- days, beginning at 6:15. The first half of the show was to be devoted to one school's football team, and the second half to its rival.

Outlining his ideas for the program, Jim proceeded with his plans by visiting his home school first. There he re-

corded the school victory song, which he later had put on a disc. Using this as introductory background, he planned to simply play the record, at the same time his recorder

40

volume of the phonograph ouncement on the show. Al - his method proved satisfac-

owance for a mike mixer at order earnings, he plans to )n of sound equipment. o the school's locker room iyers. He timed this visit a iod when they were all to- rritten questions. All inter - !y. Jim prompted informa - might of his team's chances ers in good condition, how

men were most agreeable being on the radio.

nd team captain, Jim got names and state that they ijoyed listening to the im-

cipal, regarding the num- `d won in the past season, ,ols, etc. were next on the 'fished to present these as cincipal, being impressed ooperate. After recording il's auditorium. Here he

thought would add color

inside, during practice, 1r as far back as he could ose picked up too much

g outside, however, Jim fie to interferences, such men were marching, he

ere was much distortion. vas followed at the rival n edited his show.

beginning, middle and music for background,

I, at the end of the com- e music to normal. ck, and the Magnecords le could record on one

;h to an AC outlet, and his dad's car. He found

it of current, which dis- lotor ran, but he could the -spot pickups. d the mike that came purchased another bet -

1 a 100 foot extension are store, he found he ves that most recorders nt mikes. ype show, Jim got into the players. He gained ling from his football

c tape of an operetta. yed it on the air at the

same time the live show was going on, and people at home thought the broadcast was coming direct from the school.

He is now planning an interview program, talking to people as they enter the city at bus and railway terminals. In the spring, he plans a man -on -the -street show.

Jim says that recording radio programs is much easier than most recording fans think, and suggests that you visit your local station to see u hat they charge for air time. In his opinion, there is no greater satisfaction than to sit at home and listen to yorrseif on the radio.

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Top: editing of the material collected in the field is necessary before the show goes on the air. Here Jimmy listens to the tape and makes notes on which cuts to use. Programs must be accurately timed for broadcast use. TFe 't/2 inch per second speed is used for all recording. Lower: the record playing outfit in the rear supplies background music behind the voice. The school victory song is used to open and close the show. Jimmy invested in a

better mike and a longer mike cord to make his operations more flexible.

41

How to Match Room and

Orchestra for Recording

by L. L. Farkas

... the room acoustics can make a big difference in your recordings

VERY often an orchestra is set up for recording without any serious consideration of its suroundings. In some cases this will cause no difficulties and the quality of

the recording will be relatively good. But when optimum results are desired, then the room must definitely be fitted to the orchestra, or vice -versa.

Now it might seem ridiculous to place a three-piece band in a huge hall, and equally absurd to attempt picking up a large band squeezed into a small space; yet these may be the conditions under which an acceptable recording must be made.

Let us first see what happens when a small orchestra is

placed in a very large room whose acoustics are poor. By

this I mean in a room with large smooth walls, a high ceiling, and possibly a tile floor.

Recording a small orchestra in such a place, particularly if a duo -directional type of microphone were used, would

result in a very badly distorted pick-up. Low tones would boom, highs would sound tinny, while notes of the middle register would frequently come through so loud they would spill over-that is, they would appear suddenly choked. Now this may seem like an extreme condition, still you may

be confronted by such room characteristics of varying de- grees. So you should be ready to cope with them.

The first remedy is to place the instruments in one end of the room, bunching them as closely as practicable. In this way the combined tones of the orchestra are kept sounding solid. Then make a very close set-up. With the microphone set very near the front row of instruments, the sound has only a short distance to travel before being picked up. This will cut down a great deal of echo. Then, by hanging drapes or any other kind of sound absorbing material on the wall directly behind the orchestra, you can prevent a good portion of the sound from being re -

Ray Bloch's orchestra set up in the dead side of a CBS studio. Here reverberation is cut down by the louvered -type panels which can be

seen at the side and the rear. Note the curtain which can be stretched across the panels for further deadening of the studio.

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he room, thus eliminating

nprove the recorded tones oust ask the musicians to overall volume of the or- vhich various sound waves and ceiling, and naturally

ion. unidirectional microphone ,erty of picking up sound

eliminate tones reflected

ys of reducing reverbera - or, screens placed at vari- us hung from the ceiling, :d with people. Any one uce echoes in a large live the recording. d at the other extreme: into a small room. There close to the microphone

1st. And even when this the brass section, bounc-

variably distort. This is publing of overtones, reality often referred to as

of orchestra you happen Outfit, the intimate split

The instruments are directional microphone,

like a crystal micro - y. They are bunched as :entrate their combined ion and the bass, placed

are barely beyond the us instruments and the hey should be separated e rest of the orchestra. of these instruments to

,a

blast, and if, in addition, you ask the brass musicians to keep their tones below normal level, you may also be able to reduce the reverberation of the brass tones to a point where they will not distort.

If you want to decrease reverberation still further, you can of course use the same means that were utilized to make the small orchestra fit the large live room, although in most cases you will need to hang sound absorbing material behind the brass section only. The resultant balance will undoubtedly be far from perfect, but it may still produce an acceptable recording.

With an orchestra that plays classical or semi -classical music, the split set-up at dose quarters will seldom produce a good balance. There it is again preferable to con- centrate the pick-up in only one direction. A straight set- up is used, with the strings, then the woodwinds and brass sections arranged in successive rows facing the microphone. There is one modification. Normally, to obtain the singing sweep of the strings, the microphone must be set either at a fairly good distance from the instruments or raised to such a height in front and above the violins that the distant pick-up is maintained. But in a small room it is often impossible not only to obtain the necessary distance between microphone and strings, but the microphone may be so close that its beam does not even encompass all of the strings.

The solution lies in the use of two microphones. Set about a foot apart and raised as high as practicable, the microphones are tilted toward the violins so that each beam covers one half of the string section. By checking this dual pick-up on a trial recording, slight adjustments can then be made in the height, position and angle of each microphone until the two levels are balanced and the desired string quality is obtained.

The woodwinds are then crowded directly behind the strings, while the brass and percussion instruments are again pushed as far back as the limited space permits.

Of course this arrangement will not give you a symphony hall type of pick-up; at best it is a compromise between a close and distant perspective. Nevertheless, it will per -

43

Top View

MienoPhoneJ Me9hr /OfJ.

Side View

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Symphonic Orchestra Pickup in .5/na// Studio

mit you to obtain a reasonably good balance in which a great deal of the original string brilliance will be retained. The orchestra may even acquire a slight roomy quality which will not only eliminate any "canned music" aspect in its tones, but should also create the illusion that the orchestra is playing in a hall larger than the one it occupies. In this way some of the detrimental effects produced by the mismatch of the orchestra to its surroundings can be partially if not completely remedied.

This leads us directly to the subject of room simulation. There are times when you may not want to correct defects caused by the wrong type of room, but rather to simulate completely different surroundings in order to make the orchestra fit an imagined room. For instance, you may want to create the effect of an orchestra in a small live room.

One way to do this is to set the instruments very close together and then to hem them in from all sides by large smooth wooden panels. Such hard surfaces will readily act as reflectors for the various tones of the instruments and will thus duplicate the "canned music" aspect of a small live room.

If a small dead room is required, then you can hang thick drapes over the panels, place rugs under the instruments, and even hang sheets of linen, awning -fashion, over the whole orchestra. By using these or other sound absorbing materials, you should be able to reduce echo to a minimum so that the orchestra will seem to be playing in a small, completely dead room.

Now just as you may have wanted to shrink a large room to make it sound like a small one, you may also want to blow up a small room into an auditorium. One

Above: the drawing shows the plac..ment of the mikes for a symphonic orchestra pickup in a small studio. The mikes are placed two or three feet apart and at a height of 10 feet with the faces tilted toward the musicians. Below: note the drapes hung from the balcony and sound screens to absorb reverberations which might mar the recording.

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Making a room seem smaller than it is by using two microphones close in to pick up the strings. The same set-up can be used in a small room but with the microphones farther back, to simulate the singing sweep of the strings as would be heard in an auditorium.

way to create this illusion is to introduce a pronounced echo artificially into the orchestra pick-up. This is done by means of a second microphone which can be located anywhere in the set-up, although preferably as far as possible and facing away from the orchestra microphone. Now all you have to do to produce the desired echo is to open this second microphone while the orchestra is being picked up directly on the first unit. As the tones of the various instruments will strike both microphones at different times, there will also be a time lag between the dual pick-ups of each tone. This, plus the slight feedback which will normally occur with the two microphones open at the same time, will produce reverberation on the recording which will closely imitate sound bouncing around a hall or auditorium, particularly one not very well soundproofed. And since the larger the hall the more echo it will have, you can control the simulated size of your recording room by increasing or decreasing the amount of sound picked up by the second microphone. You can create an even more truthful reproduction of room size by changing the distance between the two microphones so that the time lag of the echo introduced more closely duplicates that of the room being imitated.

A second means to create the illusion of room size on a recording is the echo chamber. Briefly, this device consists of a series of connected corridors like a labyrinth with a loudspeaker at one end and a microphone at the other extreme. Sound picked up on the regular recording microphone is fed from the external speaker output of the recorder into the loudspeaker in the echo chamber. The

sound waves travel along the corridors of the chamber and are picked up at the other end by the microphone. The sound from this last microphone is mixed with the sound picked up by the original pick-up unit and the combined tones recorded. Here again the delay incurred by the sound travelling through the echo chamber corresponds to the time lag of an echo in a large hall.

You can make an acceptable echo chamber by placing the loudspeaker and microphone at opposite ends of any long hall or corridor, particularly one that has smooth walls and uncarpeted floor. in a pinch you may also use a bath room with its hard reflecting surfaces.

By changing the relative positions of the loudspeaker and microphone in the echo chamber you can readily vary the reverberation time and thus reproduce the effect of rooms of different sizes. You can obtain even finer control by varying either the volume of the loudspeaker or that of the microphone input. As a live room will produce a louder echo than a dead or sound -treated room. changing the volume of the echo, will also change the simulated properties of the room. Thus by introducing the correct amounts of time lag and volume, you can make your recorded orchestra sound as though it were playing in a room of any desired type and size.

All these are tricks of the trade which you can use not only to distort orchestra pick-ups for mere amusement, but to create legitimate effects for dramatic scenes and, most important, to match the room to the orchestra so that the best recording can be obtained under the particular circumstances.

45

Photos by L. H. Becker

The small, round microphone that came with my "Crescent Compact" recorder was inconvenient to use because it could not be adapted to a standard mike stand. Consequently, 1

made a wood stand which serves the purpose very well. The construction of the stand is very simple, consisting of three parts: the holder, the stem and the base. If you care to make one like it, follow this procedure:

THE STEM

Saw a piece of i2" diameter dowel stock to 51/2" length.

THE HOLDER

Take a piece of wood 1" thick and saw out a square with

31/4" sides. Cut a 2 1/8" diameter hole in the center. (1 cut the hole by drilling a series of 1/4" diameter holes all around the circumference just inside of the 2 1/8" diameter layout

line. Then, I chiseled and filed the hole clean.) Next, chisel a

1,4" x 1/4" wire notch. After the hole and notch have been

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The mike stand takes very little material and is easily made. The

drawing above shows the suggested dimensions for the parts, and

the photo at right shows the stand before assembly. The small ceramic mike, furnished with some brands of recorders, is held in

place by the metal lugs. It may easily be removed, if necessary, from the holder. This same design may be adapted to hold other types of small microphones.

Build Y

Mike

by C. F

cut all the way through, r.

place. Then saw 1" x 1" c

Th

Saw a piece of3/4"or: a 1/2" diameter hole in d-

rubber on the bottom. (I t

\X'hen assembling the not glue it to the base. r

base, so that it can be rem Use any type of retainers holder. (I used two mirr in the 10 -cent store.) Fi

with aluminum, gray or painting. A two-tone efi

base a different color that

46

TAPE CLUB NEWS

.

Jim Greene, new secretary of Tape Respond- ents, International.

Tape Respondents, International has a new executive secretary in the person of Jim Greene, who hails from Little Rock, Arkansas. Jim succeeds Fred Goetz in this capacity. Fred regretfully resigned due to failing health, and has been re -admitted to a San Francisco hospital, never having fully recovered from a serious operation in 1954. His illness has prevented him from answer- ing a considerable amount of mail, and we are sure all members will understand the unfortunate delay in receiving a reply.

The new secretary expects to get T -R-1 back in full swing within a short time, and plans to catch up on back correspondence as soon as possible. There will, however, be a short further delay, necessitated by the trans- ference of all club records from San Fran- cisco to Little Rock. Meanwhile, anyone wishing to contact Jim may write to P.O. Box 21, Dept. T, Little Rock, Arkansas.

Jim requests that any T -R-1 members whose addresses have been changed since the last membership roster was issued notify him immediately in order to incorporate the changes in the forthcoming 1956 roster.

WING OBBV-

World Tape Pal Ed Bush and daughter, Gloria, behind counter of Club exhibit at the recent Indianapolis Hobby Show.

An exhibit for World Tape Pals, prepared by member Ed Bush, was presented at the Indianapolis Annual Hobby Show, which ran for nine days beginning November 12. He was assisted by his wife, "Jerry," his daughter, Gloria, and fellow club members, Hal Fisher and Paul Bonham.

According to Ed, an estimated 9,000 visitors listened, through headphones, to folk music and specially arranged tapes from 20 countries, containing songs and messages from local residents in each land.

Twenty hours of visitors' comments were recorded by Ed, via a lapel mike worn neck- lace fashion. When edited, these will be about three hours long.

Ed was interviewed by radio station WIBC announcer Sid Collins, regarding a program concerning tape exchange. He was also invited to record a Ladies' Day program of the Rotary Club of Indianapolis, which they wished to send to Rosebud Australia Rotary in an exchange of tapes. Ed successfully carried through this invitation on Decem- ber 6, 1955.

Voicespondent Charlie Swink, Radio Sta- tion WGAR, Cleveland, Ohio, as chairman of The Voicespondence Club's Blind Ac- tivities Committee, would appreciate your letting him list your name as a reader for the blind, should you wish to help in this work. If you read well and will contact Charlie, giving him a list of what kinds of periodical literature or books you have available, he'll see to it that you are assigned to a blind member who would like to have such things read to him.

A copy of the recorded edition of "The Voicespondent" may be obtained by all blind members, if they will send a 60 -minute tape to the club at Noel, Virginia, on the first of October, January, April and July.

Free membership is being offered by In- ternational Tape Worms to anyone who is blind or physically disabled and cannot afford the membership fee. They will also receive one 3" reel of Irish LP tape, free of charge, to get started in this interesting hobby with as little expense as possible. Nat- urally, all such persons will be considered and treated as any paying member of the Club.

JOIN A CLUB

TAPE RESPONDENTS INTERNATIONAL Jim Greene, Secretary

P.O. Box 21, Dept. T., Little Rock, Ark. THE VOICESPONDENCE CLUB

Charles Owen, Secretary Noel, Virginia

WORLD TAPE PALS Harry Matthews, Secretary

P. O. Box 9211, Dallas, Texas INTERNATIONAL TAPE WORMS

Art Rubin, National Chairman P. O. Box 215, Cedarhurst, L. I., N. Y. GLOBAL RECORDING FRIENDS Alfred L. Sferra, D.D.S., Secretary

125 Hamilton S -reef, Bound Brook, N. J.

CONVERT your standard

tape recorder unit into a

STEREOPHONIC Tape Player Unit

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SENSATIONAL new development using standard stacked system

at a LOW, LOW cost. o

Win not interfere with normal operation of your tape recorder. o- Install it yourself in 10 minutes.

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Also available are STEREOPHONIC MUSIC TAPES recorded in

HOLLYWOOD especially for you.

For information and low cost write

LOS ANGELES

PORTABLE RECORDERS

521-525 North La Cienega Blvd. Los Angeles 48, California

DEALER INQUIRIES WELCOMED

HAVE FUN AT

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Tape record this old fash-

ioned melodrama and play it back. Good for a hundred

laughs. Has five parts, three

male, two female ... and a

donkey. Full directions for sound effects. Complete set

of scripts (six copies) as pre-

sented on the air sent by First

Class mail.

Only $2.95 postpaid

Order Yours Today

BOOK DEPARTMENT TAPE RECORDING

Severna Park, Md.

47

NEW PRODUCT REPORT

u

7-11:25 _- º x : r í= Y

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AMPEX 612 STEREO SOUND SYSTEM

... superb sound from the 612 tape phonograph

and two matched amplifier -speakers. "In -line"

heads, 11/2 ips speed. Will also play monaural tapes.

OR attractive appearance and ease

F of operation this unit would be hard to beat. The same may be said of its

performance. The 612 is available in two forms,

one, the portable type which is shown above and which is contained in three matching Samsonite cases and two, in the matching wood cabinets shown on the facing page.

There are no words to describe stereo sound, you simply have to hear it-it is

an experience. There is no question in our minds that the serious music lover who has gone as far as he can with his hi-fi system and records is going to

switch to tape and stereo sound in

droves. This Ampex outfit is not inexpensive

but to make the unit available to those who might not have $700 to put out all

at one time the company has instituted a time payment plan through its dealers.

Actually, stereo sound itself is not new but only now has it become practical since the advent and growth of the

tape industry in recent years. For stereo, tape is the only logical medium.

The 612 and its accompanying amplifier -speakers are of the best crafts- manship and show evidence of quality control in the factory. All are well and carefully made.

The controls and threading are such that even a child could operate the unit. The feed reel is at the left and the tape simply passes from it, across the heads, between the capstan and roller onto the take-up reel.

Two levers control the play modes, one for play and the other for fast forward and rewind. At the other end of the tape deck are the selector switch for either single track or stereo and the volume control.

Two heads are mounted under the shield, the one at the left being used to pick up dual and full track signals and the one at the right to play the in -line stereo tapes.

In a recess on the side of the 612 case are the plug for the 110 volt line and the two outlets for the left and

STA;r.IF)

Product: Ampex 612 Stereo Tape Phonograph

Price: $699 in custom designed cabinets; $694 in Samsonite cases. Phonograph only $395 in either.

Manufacturer: Ampex Corporation, 934 Charter Street, Redwood City, Cal.

right speakers. These are marked left and right so that the user will be sure to have the right sounds coming from proper speakers. If the leads are reversed, the orchestra is likewise reversed left to right.

One thing we like very much about this outfit is that the master volume control on the tape phonograph controls equally the volume of both speakers. We also appreciated the fact that the two speakers were matched. Once the controls have been set on the right and left individual speakers all volume adjustments are made with the single volume control on the tape phonograph. Anyone who has ever tried stereo sound using two different speaker systems, each with its individual controls will appreciate this feature as we did.

The connecting cables are of gen- erous length and will take care of most set-ups. Shielded wire is used and should longer cables be needed they can easily be made up. A standard plug is

on one end and a cinch phono plug on the other.

The model 612 machine has a re-

The tape path is uncluttered and threading is rapid and foolproof. No pressure pads are

used, the tape being held against the heads by regulated tape tension.

48

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The play controls are to the right of the heads. One lever controls the play and the other the fast forward and rewind. They are interlocked to assure correct operation.

394!3. -113313 MIT '1

The volume control and selector switch. The volume control acts as a master control for both speakers, a great convenience. The selector switch has two positions, one for stereo and one for monaural tapes, either dual or full track.

sponse of 40 to 15,000 cycles relative to the Ampex 5563 standard tape. As the unit is a reproducer only some such standard is necessary. The output is rated at 1.25 volts into a load of 100,000 ohms or more at program level. This is enough to drive any standard power amplifier.

If the home already has a high fidelity music system, the 612 can be added to play the stereo tapes provided another power amplifier and speaker system matching the existing one, is added to take care of the second channel.

The placement of the speakers in the room is of importance. The basic prin- ciple is to have the sound seem to come from between the speakers. The speakers should be placed straight out in the room, not facing toward each other and the use of corner horns is not advised.

The maximum size reel the machine will accommodate is the standard 7 -inch reel which will give a playing time of 32 minutes with regular thickness tape.

Particular attention has been paid to the timing accuracy which is such that

any tone will be reproduced within 2

cycles per thousand. The reproducer will play either full

or dual track tapes, in addition to the stereo tapes. With the selector switch placed on "single" the dual track tapes may be played in the usual fashion, as may single (or full track) tapes.

With the knob in this position the signal from the tape is fed to one preamplifier but the pre -amplifier output is fed to both output receptacles. This permits playing these tapes through both amplifier -speakers which improve the results obtained over a single speaker but still do not even begin to approach the effect of the stereo tapes.

With the selector switch in "stereo" position, both pre -amplifiers are in use and the individual outputs are chan- neled to the right and left speaker jacks. As the heads are of the stacked variety with the gaps in alignment, full track tapes will play with the selector switch in the "stereo" position.

No difficulties were encountered in operating the unit over a period of months. The reproducer is quiet and there is no hum generated between components, as sometimes happens when unmatched units are used.

We have no hesitation whatever in recommending this unit.

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The home unit is attractively designea and may be had in either mahogany or blond finish, the latter at a slightly higher price. Only one speaker is shown above.

RIDER'S

Sreefslipt

TAPE RECORDER MANUAL

o

The Only Recorder Service Manual

Complete servicing and trouble- shooting information on all models from 1950 through 1954 of Bell & Howell, TDC, Columbia, Brush, Eicor, Crescent, Crest- wood, Pentron, RCA, Revere, V -M, Webcor, Webster Electric, Wilcox -Gray.

81/2" x 11 286 pages

ís,4P5oostpaid

HIGH FIDELITY

TECt-INIQUES

by

John H. Newitt a

Readable, authoritative and concise, this 494 page book covers the whole field of hi-fi including suggestions on choosing, buying and setting up equipment. The servicing information is

valuable to the technician and service shop.

$7P5Od

BOOK DEPARTMENT

TAPE RECORDING MAGAZINE

SEVERNA PARK, MD.

49

NEW PRODUCT REPORT

~I*

1.- 4

R ., . .7)1110

THREE NEW PENTRON RECORDERS

. .. completely redesigned line features

single control operation, dual track, dual

speed, attractive appearance.

GETTING away from the dual controls found in previous models, such as the 9TC3, the new Pentron line features a single control knob for all

functions of tape travel. First to make its bow to the public

was the Model RWN, the Clipper, which is the lowest priced recorder in

the line. This unit has a lever which is used

in much the same fashion as the shift on a car. When the lever is placed in

the slot at the far left the machine goes into fast forward. The next slot is the 33/4 ips position and next to this is the 7t/2 ips. These slots are dual as

the lever can be thrown forward to play at those speeds or backward to record. The safety interlock to prevent acci-

dental recording is the red button on top of the lever which must be de-

pressed in order to throw the lever in

record position. At the right is the re-

wind position. Cinch type jacks on the front panel

accommodate the microphone connection and an input is also provided for radio. Outputs include external speaker and external amplifier.

The tape threading on the recorder

is unusual in that the feed is taken from the left side of the reel which brings the oxide side of the tape toward the front of the machine. Both reels revolve in a counter clockwise direction. A neon light furnishes the recording indication.

The maximum frequency response is from 50 to 9000 cps. The recorder we tested met the manufacturer's claims. Considering the price, the re-

corder is a satisfactory buy. The Model T-90, the "Pacemaker"

has a single lever "Unimagic" control which is a refinement over the one found on the Clipper. As can be seen in the photo, the single lever needs only to be tilted to right, left or forward to move the tape in the desired direction. The safety recording interlock is controlled by the red button to the left of the lever.

This recorder has two speakers and the response measured on the unit we tested exceeded the manufacturer's specifications of 10,500 maximum at the 71/2 ips speed. The general tone quality using recorded tapes was good.

Threading on this recorder is from right to left, as on other Pentron re-

STA0'1<1TED

Product: Pentron "Clipper," "Pace- maker," and "Emperor"

Price: Clipper $139.95, Pacemaker $199.95, Emperor $249.50.

Manufacturer: Pentron Corp., 777 S. Tripp Ave., Chicago, Ill.

corders. with both reels turning in a clockwise direction. Threading is

straight line. On this recorder the volume indi-

cator is a "magic eye" which furnishes a good indication of recording level. Inputs include microphone and radio and outputs are for external speaker and amplifier. Standard phone jacks are used and all are mounted along the front panel where they are easily ac- cessible. Tone and volume controls are

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, -

G. N '. f

The controls of the three new recorders are shown in this picture. Top: the "Clipper," center: the "Pacemaker," lower: the "Em- peror."

SO

operated by wheel type knobs to the right and left of the recorder face.

The case is attractively finished in two tones of grey. With this machine was furnished a reel of Pentron's "Moods in Music" which was especially recorded for use on rape recorders.

An odometer -type counter is built in which makes the finding of selections on reels very easy. It has a zero reset on the counter.

All three of the recorders in this review have good braking systems which prevent the spillage of tape. All three also have heads with removable pole pieces which may be replaced when worn without buying a whole new head.

The Model HF-400, the "Emperor" is the largest and heaviest of the group and also carries the largest price tag. It uses the same type of tape transport and control that the Pacemaker has but is equipped with a good VU meter for recording level control in place of the magic -eye.

The input and output jacks are the same type and in the same locations as on the Pacemaker, but there is one additional jack on the top edge of the case which takes the plug for the small tweeter contained in a separate case. This speaker has an extension cord of good length on it which enables the user to place it at a distance from the recorder to improve the sound. The tweeter is a four inch speaker and is fed from a crossover network which allows it to take the highs.

Two six inch speakers are contained in the case and unlike the Clipper and Pacemaker, they face the sides rather than the front. The unit has a ten watt push-pull amplifier which provides plenty of volume.

The response is from 40 to 12.000 cycles per second at the 71/2 ips speed.

off

The "gear shift" control on the Clipper was the first of the single control units to appear. The knob in the top of the lever is the safety interlock to prevent accidental erasure.

'PENTRpN' --_.,._..-------s.._. ̀ -------*----.--____

-

P A

Top: the "Unimagic" control lever which is

featured on the "Pacemaker" and the "Emperor" models. To the let+ is fas+ forward, to the right, rewind and toward the operator play and record. Lower: a separate jack is provided for plugging in the external tweeter furnished with tie "Em- peror."

On the Pacemaker and Emperor the change in speed is effected by raising or lowering the speed change lever. The lever is turned clockwise and lifted for slow speed and depressed for fast speed. When the recorder is not in use the speed control should be set half -way between the two speed positions. This will prevent fiats from forming on the drive rollers.

The amplifier output is a high impedance output which is designed to connect to an external amplifier, radio or TV receiver or a PA system. If the sound coming from the recorder speakers is not desired, insert a dummy plug in the external speaker jack.

The recorder may also be used as a PA system by plugging the mike into the radio input jack. By plugging an external speaker into the external speaker jack at the same time, greater volume may be obtained and better placement in relation to the mike, to avoid feedback.

If you are considering a recorder in the low or medium price class we feel that these machines are worthy of your consideration.

/1/ea)May.i-e&I'vYat RECORDING TAPES

//,;iiullll»\ Just outl New sturdy non-magnetic metal clip to hold your recording tape securely In place. Prevents unwind- ing of Mies. end and consequent damage to tape. Permits you to handle tape, mall It anywhere. or store It without fear of urnvinding and wrinkling. Banishes cumbersome methods such as masking tape. rubber bands, Clips over the flange of any size reel and will last Indefinitely with repeated use You'll need one for each reel. Better order a supply today. Not yet sold In atores.

Introductory 4 for $1.00 Prices 10 for $2.00

30 for $5.00 opd.

Order now. Send name, address and remittance (cash. check or money order). Satisfaction guaranteed. Prompt delivery. order front:

tIIBLACK THORNE CO., Box 525, Scottsdale, Arizona.

r

THIGH FIDELITY From your HOME TAPE RECORDER

FROM

=19.95 30 thru Lill 15,000 cycles

commis _.. , at 7.5I,P.S.to

1 Input of Home Music System

=y ' ;DYNAMO CONVERSION KIT

FOR YOUR Pentron, Revere, RCA, Wilcox Gay, Knight, efe.

Write: DYNAMÚ,Malco Bldg., Minneapolis, Minn.

Distributed In Canada by Muslmart of Canada. 901 Bleury St., Montreal

RECORDED TAPE Livingston Library Webcor A -V Library R.C.A. Victor Tepe Toons Omegatape

Pentron Jazztape

E.M.C. Phonotapes For FREE Catalogues write

MAT'S RECORDING SERVICE Dept. TR, Box 37, Rockaway Beach 94, N. Y.

DIFFER E N T 1

RECORDED fun -filled TAPES

"SAMPLER," only 99c (Dual track, B or 15 minutes, state speed)

Lowest prices! Free lists! HOUSE OF STONE LUNENBURG 5, MASS.

RECORDED TAPE MUSIC Selected from the finest tape libraries

Omega Head Demagnetizer 57.95 Gibson Girl Splicer 56.75, Deluxe 58.75

Write for Catalog EFSCO SALES COMPANY

27D Concord Ave. West Hempstead, N. Y.

51

M MTI-M PRESTO SPLICER

Now available for magnetic MI" Mylar G Acetate Tapes

A heat weld No cement No adhesives ... in seconds!

Diagonal cut capable of withstanding 3 pound pull Inaudible with playback amplifier gain at maximum Also splices leader to any base magnetic tape without adhesives.

Ask for brochure ft. split - T ARFSTaSFAc CORP.

3121 33rd st., Long. Island City 1, N.Y.:

STEREOTAPE o new line of pre-recorded tope

devoted entirely to two channel stereo -binaural

write for free catalog demonstration test tape S2.00 p.p.

STEREOTAPE Dept. A, 5607 melrose ave., hollywood, col.

Wave 9cot wah 1060,

%ate Ree°3`fvl

USE

'MAJOR' PRODUCTION AIDS, APPLAUSE RECORDS,

FANFARES AND MANY MORE... MAKE YOUR HOME

A PROFESSIONAL BROADCASTING

STUDIO!

Record your own dramatic productions at home .. Bring up the theme ... lade in the mood music for

the opening scene. Turn on the rain .. , bring up the thunder and lightning.

Crowd noises, animal sounds, train whistles .. .

áll at your fingertips with "Major" Production aids. Your friends will enjoy your broadcasting party when they hear how they sound "ON THE AIR"! THOMAS 1.

VALENTINO, Inc.

Dept. TR r 150 West 06th Street,

New York 36, N. Y. PLEASE SEND ME FREE

(Check Boren

Major Sound Effects Catalogue plus Tips On Turntables

Mood Music Catalogue

Name

Address ................... .... ......... ' City Zone. State

(Continued from page 19)

FEDERAL 47-A

Federal Manufacturing & Engineering Corp., 1055 Stewart Ave., Garden City, L. I., N. Y., is now marketing their 47-A, dual -

track recorder. This machine has a frequency range of 50 to 12,000 cps, 33/4 and 71/2 ips speeds, less than .5% wow, single knob control, fast foward and rewind, radio-phono input jack, erase safety lock, straight in - line threading and a power pilot light. It also features a reversible automatic counter, and comes complete with a ceramic microphone, reel of tape, take-up reel, detachable cord, and patch cord. The price is $159.50. For additional information, write to Fed- eral Manufacturing & Engineering Corp., above address.

MAGNA AMPLIFIER KIT

: gol e I AsT o

.s;.

The Gaertner Company of Los Angeles is

manufacturing a new Magna amplifier kit incorporating the latest in circuit design. The Magna hi-fi amplifier covers a range of 20 to 100,000 cycles, plus or minus 1

db, and has less than 1% distortion at full volume. The circuit uses two selenium rectifiers, it has a built in pre -amp, loud- ness, bass and treble controls, and will feed a 4, 8 or 16 ohm speaker. The kit comes complete with all necessary parts for simplified assembly and is provided with simplified step-by-step instructions and large, detailed pictorial diagram. The Magna amplifier may also be used as an easily portable public address system for small auditoriums, ballrooms, churches, etc.; it is

sold in kit form only at a price of $31.95 postpaid. An illustrated catalog of Magna Electronic Kits is offered free upon request from the A & Ni Company, 616 So. Ser- rano Ave., Los Angeles 5, Calif.

FULL OR PART TIME PROFITS! Recorder owners interested in Free-lance Radio announcing or lending machines lo- cally on time rental basis! FREE literature!

Broadlances Reg., 5120 Bourret, Box 2, Montreal 29, Canada

BACK ISSUES AVAILABLE Articles of Lasting Interest

350 Each-Any 3 for $1.00

ISSUE HIGHLIGHTS Volume 1, No.1: How to Record Your Voice, Secret Recording, Add Sound to Your Movies, Full Range Record- ing, Join a Tape Club. Volume 1, No. 4: What a db Is, Starting a Tape Library, Recording Choral Groups. Volume 1, No. 5: Recording Euro- pean Trip, Recording In Your Car, Portable Recording, How to Record Dramatic Skits. Volume 2, No. 1: Radio Tape Net- work, Choosing a Mike-Part II, How to Erase Tapes. Volume 2, No. 2: Building an Elec- tronic Mixer, Mike Stands, Orches- tra Recording. Volume 2, No. 3: Music Can Make Your Mood, School Use of Recorder, Orchestra Recording, Tape Record- ing Glossary. Volume 2, No. 5: Tony Schwartz- Master Recordist, How to Avoid Hum, Capturing Yesterday's Music, Build This Recording Center, Thesis on Tape. Volume 2, No. 5A: Sounds to Keep Your Trip Alive, Recording Bands Outdoors, Capturing Insect Songs. Volume 2, No. 6: Recording Radio and TV Bloopers, Automatic Slide Shows, Beautify Your Recorder, Tape Filing System, Stereophonic Tape, Volume 3, No. 1: How Tony Martin Uses Recorders, Joining A Tape Club, Tape For Folk Dancing, Re- cording Xmas Music.

Order from: Back Issues Department

See special offer on reader service page

Tape Recording Magazine S Park, Maryland

HARRISON CATALOG The Harrison Catalog of Recorded Tapes

is published by M. & N. Harrison Inc., 274

Madison Ave., New York 16, N. Y. This handy publication lists every currently avail-

able recorded rape in three groupings: First,

according to "Composer and Artist"; second,

according to "Type of Music", and third, under the manufacturer's name. Informa- tion about the contents of each recorded tape

such as composer, titles of all compositions, performing artist and label number is given. Also, information about prices appears di-

rectly underneath the name of each com-

pany. This catalog may be available where -

ever recorded tape is sold or it may be ob-

tained by writing directly to the publisher. It measures 51/4" x 81/2," is paper bound and

is priced at 150 a copy.

52

WANT MORE INFORMATION? QUICK

use the postage paid reply cards today

Here's all you

need to do- -Fill out each coupon

completely giving name

of product, advertiser and your name and ad-

dress.

2-Detach card and drop in

mail - no postage nec-

essary in United States. Send entire card, do not

detach separate coupons.

PLEASE PRINT OR USE

TYPEWRITER TO INSURE CORRECT ADDRESSING.

The cards will be clipped apart and sent to the adver- tisers who will take care of your request directly and

Postage Will be Paid

by Addressee

BUSINESS REPLY CARD First (loss Permit No. 5, Sec. 34.9P.L&R. Severna Park, Md.

TAPE RECORDING

SEVERNA PARK,

MARYLAND

PLEASE SEND INFORMATION ON:

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Enter my subscription for two years (12 issues) $3.75

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SPECIAL OFFER: All back issues of Volume 2 (December 1954 -

December 1955) plus a year's subscription starting with next issue .... $3.50

Remittance is enclosed CI Bill me

NAME

ADDRESS

CITY ZONE ....STATE

This subscription is: New Renewal

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BUSINESS REPLY CARD First Class Permit No. 5, Sec. 34.9P.L.&R. Severna Park. Md.

TAPE RECORDING

SEVERNA PARK,

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SPECIAL LIMITED OFFER

All back issues of Volume 2

(December 1954 -December 1955 - 6 issues) PLUS a

year's subscription to TAPE

RECORDING

only $3.50

As the sets of back issues are lim-

ited orders will be filled on a first

come first served basis until the

supply is exhausted. Act today!

TAPE RECORDING IS THE

ONLY MAGAZINE COM- PLETELY DEVOTED TO MAGNETIC RECORDING

IN ALL ITS PHASES-

THE ONLY MAGAZINE WITH A REGULAR COL- UMN ON MUSIC ON TAPE

THE ONLY MAGAZINE THAT REGULARLY COV- ERS THE ACTIVITIES OF

THE TEEN TAPERS AND

FOR YOUR AUDIO BOOKSHELF

51/e" a 8", cloth bound, 288 pp. Illustrated.

$4.95

YOUR TAPE RECORDER

by Robert and Mary Marshall

This is the first book for nonprofessional users and includes the photographs and specifications of 55 recorders as a guide to selecting the proper machine for various uses. The book does not deal with technicalities. It was written after some 2500 experiments had been conducted, using recorders in the fields of education, camps, meetings, business and the home. Part of the book is devoted to an explanation of hi -ft principles and terminology.

5. e

51/2" a 81/2" paper bound, 208 pp. Illus- trated.

$2.50

HIGH FIDELITY SIMPLIFIED

by Harold D. Weiler

This book has sold more than 65,000 copies and is one of the most popular books on the subject. It covers the How, What, Why and Where of Hl -Fl., Sound, Acoustics. The Simple Loud- speaker, The High -Fidelity Loud- speaker. Loudspeaker Enclosures, The Basic Amplifier. The Amplifier, The Record Player, Tuners, Use of a Home Music System, and Tape Recorders. It Is illustrated with numerous drawings. charts and pictures. While authoritative, it is written in an easy -to -read style.

THE RECORDING AND REPRODUCTION OF SOUND by Oliver Read

The largest selling book In its field; favorably reviewed by leading authorities on audio. Widely used by Sound engineers, High -Fidelity enthusiasts, Public Address technicians, broadcasting stations, recording studios, and students of audio. Au- thoritative chapters cover: behavior of sound waves; basic recording methods; lateral disc recording; micro -groove recording; the decibel; phono reproducers; cutting stylli; microphones; loud speakers and enclosures; dividing networks and filters; attenuators and mixers; home music systems; public address systems; amp+tfiers; AM and FM tuners, tape and wire recorders and recordirg film recorders-plus hundreds of other subjects. A standard reference work.

810 pages, 6" x 9", illustrated $7.95

HIGH FIDELITY HOME MUSIC SYSTEMS by William R. Wellman

The book describes the functions of each unit of a home music system, giving advice on the good and bad features of various kinds of units. Chapters include: An Introduction to High Fidelity. Loudspeakers, Loudspeaker Enclosures, Record Players, Radio Tuners, Tape Re- corders, Amplifiers, etc. Also included are plans for installing a home music system.

---= F;deighrri

MOW MUSK

,.- --" antr-..^

6" x 9", cloth bound, 192 pp. Illustrated.

$3.95

THE NEW

HIGH FIDELITY HANDBOOK

by Irving Greene and James Radcliffe

This is a practical guide for the purchase, assembly, installation and maintenance of a high fidelity home music system. It is profusely illustrated, containing more than 250 illustrations drawings and diagrams and has a foreword by Deems Taylor and a chapter on the High Fidelity Record by Harold C. Schronberg. Home recording is covered to one chapter. Tips on buying components, plans for Hl -Fl furniture, fitting the system to the home interior decora- tion, etc. are well covered, as is the subject of trouble shooting.

r------ %I« 'r:

_1116,1 iH«

-. `- 1

81/2" a 11" cloth bound, 193 PP. Illustrated.

$4.95

BASIC ELECTRICITY by Van Valkenburgh, Nooger and Neville, Inc. These five volumes, and the five listed below on Basic Elec- tronics are the texts of those subjects as currently taught at Navy Specialty Schools. They are simplified, clearly illustrated and one basic concept is explained at a time without the use of complicated mathematics. Vol. 1-Where Electricity Comes From, Electricity in Ac- tion, Current Flow, Voltage and Resistance. Magnetism, DC Meters. Vol. 2-DC Circuits. Ohm's and Kirchoff's Laws, Electric Power. Vol. 3-Alternating Current, AC Resistance. Capacitance and Inductance, Reactance, AC Meters. Vol. 4- Impedance, AC Circuits, Resonance, Transformers. Vol. 5- DC Generators and Motors, Alternators.

BASIC ELECTRONICS Vol. 1-Int_oductlon to Eectronics, Diode Vacuum Tubes. Dry Metal Rectifiers, Power Supplies. Filters, Voltage Regu- lators. Vol. 2-Introduction to Amplifiers, Triode Tubes, Tetrodes and Pentrodes, Audio Voltage and Power Ampli- fiers. Vol. 3.-Video Amplifiers, RF Amplifiers, Oscillators. Vol. 4-Transmitters, Transmission Lines & Antennas, CW Transmission and Amplitude Modulation. Vol. 5-Receiver Antennas, Detectors and Mixers. TRF Receivers, Superhets. 6" a 9", 128 pp. Each Volume 52.00.

$9sD0 Complete set, 5 volumes

BOOK DEPARTMENT TAPE RECORDING MAGAZINE Severna Park, Md,

Please ship immediately the books checked. I enclose

NAME

ADDRESS

CITY ZONE ....STATE All books shipped postpaid from stock same day order is received. If not satisfied return books within 5 days and money will be refunded.

High Fidelity Home Music Systems

Recordieg and Reproduction of Sound

New High Fidelity Handbook

High Fidelity Simplified

Your Tape Recorder

Basic Electricity Yols. Set

Basic Electronics Yols. Set

1-2

3

SHOP OR SWAP

Advertising In this section Is open to both amateur and commercial ads. TAPE RECORDING does not guarantee any otter advertised in this column and all swaps, etc.. are strictly between individuals.

RATES: Commercial ads, 11.30 per word. Individual ads, non-conmterclal, 0.0$ a word.

Remittances In full should accompany copy. Ads will be Inserted In next available Issue. Please print or type your cony to avoid error. Address ad to: Shoo or Swap. Tape Recording Magazine. Severna Park. red.

TIMPANI PROFESSIONAL RECORDING TAPE. Formerly sold only to stations. Better sound quality or money back. List 55.50 (1200 ft.) Special trial: Two Reels 55.00. Bob Freund, 56-B Ben- nett Avenue, New York 33, N. Y.

FOR SALE: Concertone Model 1501 professional hi-fi tape recorder. Good condition. 71/2" and 15" per second, dual track, takes up to 10112" reels. Carrying case with monitor amplifier and miscellaneous equipment. Will sell for 5275 f.o.b. P. E. Keedy, 3116 Grindon Ave.. Baltimore 14. Maryland.

DO YOU HAVE

TWO FRIENDS ... ... who are interested in recording

and who would enjoy receiving a

FREE sample copy of

TAPE RECORDING

Magazine?

If you do, just send us the names on

a postcard or use the coupon below.

TAPE RECORDING

Severna Park, Md.

Please send a copy of Tape Record-

ing without charge to:

Name

Address

City Zone State

Name

Address

City Zone State

Your Name

Address

City Zone State

3-1

\X ILL SWAP Esrey Reed Organ (portable, bellows operated, 41 octaves) for either good 2 -speed tape recorder or AM -FM tuner. Dr. Sid Saltzman, 228 So. Quince Street, Philadelphia 7. Pa.

WANTED: Record -Tape "Where was I" and "Lilac Time." State price. John Callahan, 106 Kirk Avenue, Syracuse 5, N. Y.

WANTED TO BUY: Transcription music of the following orchestras: Xavier Cugat, Lud Gluskin. Chiquito, Senor Clemente and Clyde Lucas Marimba Orchestras. Will accept disk or tape dubbings. Mail titles of selections available and prices for same first letter. Sam Kiamie, 930 Grant Avenue. Pelham 65, N. Y.

FOR SALE: Five 7" reels Scorch recording tape, 510; Revere T-100 tape recorder, 585; Electro - Voice 635 dynamic microphone, 535; Pickering 230-H preamplifier, 517.50; Airline portable 3 -

speed record -changer, 535. All excellent, priced f.o.b. Marilyn Phillips, 311 Penfield, Rockford, Illinois.

PICTAPE: A TRUE PICTURE fidelity recording tape. Broadcast - Telemetering - Computer quality. Sample 1800 ft. reel 55.75. Guaranteed. Pictape Products Corporation, 152 West 42nd St., New York 36.

FIRST 13 issues "Tape Recording" magazine, S3.50; Trav-Ler 5 -tube table radio, 515; RCA 45E1'2 amplified 45 -rpm record -changer, 522.50;" -- Cascade 2 -speed disc recorder -radio -phonograph, 550. All items guaranteed new condition, priced FOB. V. R. Ilein, 418 Gregory, Rockford, Illinois.

HELP: Tapeworm in Congo badly needs Tape Recording Volume 1 issues number 2 & 3. Write Mr. Vandenbossche or Otraco, Matadi, Belgian Congo.

SELL: Tapesonic 70-A (S) professional recorder, 3 heads, 3 speeds, 3 motors, dual track, 1012" reels. VU meter, complete mixing, monitoring and playback facilities with 8" speaker. Special filter network. Everything in a one-piece, luggage -style, carrying case with two removable covers. Perfect condition, 5 months old. Cost, 54110. Sell, 5295. Gary Gottlieb, Carnegie Institute of Technology, Pittsburgh 13, Pa.

NE\V! INEXPENSIVE! GUARANTEED! "End - of -Tape" automatic shutoff control, only 54.95. Build 101'2" reel adapter, instructions 51.00. LE ROI ENGINEERING, Box 251, Elmhurst, Illinois.

FOR SALE: New Pentron "Emperor" HF-400 tape recorder. List price 5249.50, yours for 5149.50. Dr. Stasior, 621 Water St., New York, N. Y.

STAMP DEALER will swap fine U.S. and foreign / stamps-want professional tape recorder, RE Precedent, and other items. George \\ entz, 417 Comanche, San Marcos, Texas.

FOR SALE: Model 180 Webster wire recorder. Operates and looks like new. Complete with extra spools wire, 546. Owner needs cash. O. J. Virts, 709 E. Potomac St., Brunswick, Maryland.

WANTED: World transcriptions, will offer 510 each for early untitled discs. Ask for list. James Orlando, Dickerson Run, Pa.

FOR. SALE: I have a few deMars speaker enclosures still in the carton. They are solid mahogany with beautiful piano finish. Both corner or wall type and about 10 cu. ft. Sacrifice for 560, plus shipping. Earl W. Magoun, 320 Park Ave- nue, Arlington 74, Mass., MI 8-5987.

I WOULD LIKE a Cincinnati reader with good tape equipment to record "Moon River" for me. / Earl W. Magoun, 320 Park Ave., Arlington 74,

WANTED: Magnecorder tape recorder, professional I Mass. type, used. Please send model number, condition, etc. Also state price desired. Roland F. 1-Iarriston, 1210 Warren St., Roselle, New Je sey.

FOR SALE: Ampex 600 tape recorder, full track! guaranteed used only 21 hours, positive'y like new or money refunded. Will pay express charges. Reason for selling - want binaural. Reference: \X'Ititman National Bank, C. Harlow, 17 Laurel, Whitman, i\lass.-5450.

BRAND NEW 1956 Model 1-li-Fi VSI-700 tape recorder, never used. Cost 51-9.95, yours for 5138.00. Jack Fives, 2916 Rockrose Avenue, Baltimore 15, Maryland.

FOR SALE: Webcor Model 210-1B tape recorder, 555.00 worth of Scotch sound tape, 511.25 of accessories, 21 years old. In good condition. All for 5150.00. Rev. Ralph A. Bobbin, 112 W. Ontario St., Philadelphia 40, Pa., Regent 9-6577.

FOR SALE: Model 2030-1 Webcor tape recorder, 3 speakers, like new, 5150. Large Walnut Hi -Fi cabinet, 540. S. Holland, 9333 N.F. 9th Place, Miami Shores, Florida.

NEW PORTABLE heavy duty transcription player, housed in handsome leatherette carrying case. Plays 33-1/3, 78 rpm records up to 16". Operates into any amplifier system. Heavy 4 -pole motor, weighted turntable, balanced arm. Reg. 593 value-first 560 takes it. R. G. Forman, 210 Burr Oak St., Kalamazoo, Mich.

WANTED: A copy of the TV broadcast aired on Sunday afternoon, November 6, 1955, of former president I loover, title of broadcast: "Hoover Con- servation." Will swap other historical type recordings or will buy according to your terms. I can duplicate it and mail original back. Drop a card to: L. Norman Gray, 1241 English Avenue, In- dianapolis 3, Indiana.

MAGNECORD PT6-BAH Binaural or can be used Monaural in beautiful enclosure with 101/2" reel extension, used 20 hours. New 5637.50 and will take 5425.00, excellent condition, just like new. For more information, write F. A. Mason, Box 7, La Sierra Sta.. Arlington, California.

DISCS FROM your tape, 51.00 up. Send stamped envelope for free list of services. Sales Recording Service, 3540 W. Jackson Blvd., Chicago 24, III.

TAPE RECORDERS, tapes and accessories, na- tionally advertised brands. Free catalog upon request. Satisfaction guaranteed. Dressner, Box 66A, Peter Stuyvesant Station, New York, N. Y.

PRECISION MAGNETIC HEADS, Erase -Record - Playback. Stancil-Huffman Corporation, Holly- wood 38, California.

NOW YOU can make $100 weekly spare time with your tape recorder. Send 25c refundable. LP DISCS MADE FROM TAPES. 24 hour service guaranteed. 10 inch -30 minutes, 54.25; 12 inch - 45 minutes, $5.75. Write for other speeds. Artistic Sound, 24110 Rensselaer, Oak Park, Michigan.

SYNCHRONIZER HOOKUP: Slake sound movies with your tape recorder, 510.00. Anderson, 2424 Phelps Street, Stockton, Calif.

WEBCOR "ROYAL CORONET" Model 2612 portable tape recorder. Three speaker Hi -Fi with tape counter. Brand new 1956 model. Cost $255.00, will sell for $189.00. Also brand new Webcor "Royal" Model 2611 portable tape recorder. Cost $225.00, will sell for 5169.00. Both in original cartons. Write James J. Michael, 2445 Lakeview Ave., Baltimore 17, Maryland.

CIRCUS CALLIOPE RECORDING: Four selections played on an original circus calliope. Plus, brochure, (illustrations and photographs) , "Glori- ous History of The American Circus Parade Wagon and Steam Calliope." Collectors item. 52.00 postpaid. Demo Records, 1421 N. 21st Street, Mil- waukee 5, Wisconsin.

TAPE RECORDERS & TAPES EXCLUSIVES!

Tape Packaged in Cam. 10, 7, Y' Empty Cans.

metal (Tape) Storage Cheats.

FREE CATALOGUE: CARSTON COMPANY, 215 E. 88, New York 28

54

TAKE A 600D LOOK YOU CAN ACTUALLY SEE THE DIFFERENCE!

These are unretouched photo- micrographs (not artist's concep- tions) of FERRO -SHEEN tape and ordinary tape taken under identical conditions..1/agnification is 50X. See how irregular the eggshell surface of the ordinary tape appears in comparison with the smooth FERRO-SHEE.\ tape. See lton' much smaller are the shadows and highligl is of the FERRO -SHEEN tape. This indicates a much greater uniformity of oxide coating and an unparalleled super -smooth surface.

What Does This Super -Sm oothness Mean to YOU?...

1 GREATLY REDUCED HEAD WEAR:

the mirror -smooth FERRO -SHEEN surface virtually eliminates disastrous head - wear caused by the abrasive surface of ordinary tapes.

2 NO SHEDDING OF OXIDE:

unlike ordinary tapes which shed oxide particles that gum up the heads, the FERRO -SHEEN process anchors the oxide to the base so that it cannot come off and deposit itself on the head.

3 FLATTER FREQUENCY RESPONSE: the super -smooth surface of FERRO - SHEEN tape makes better contact with the recording head, resulting in higher output, a very flat frequency response.

4 REDUCED "PRINT -THROUGH": "Print -through" is virtually eliminated, even at excessive input levels, because of unparalleled oxide uniformity in FERRO -SHEEN process tape.

SMSN :\ -r Al .- ¡nog

S'G.a,hzac4, 300 ' a.0 us))

;,--. s'

L--J(a', .'

FERRO -SHEEN TAPE

HAS THE

OF ALL RECORDING

TAPESI

r

ORDINARY TAPE

MAKE YOUR OWN TEST R IN TWENTY SECONDS!..! -

Send for free Comparator Card which has strips o= all of the leading tapes mounted side by side for your direct visual comparison. You will SEE the obvious difference at a glance. You will instantly recognize that irish FERRO -SHEEN process tape with its obvious smoother surface is the finest tape your recorder can use!

FERRO -SHEEN IS NOW AVAILABLE IN THESE THREE QUALITY

irish TAPES: SHAMeOCK #300: The ultimate in premium, professional tape for broadcast and stucio use. 1.5 mil plastic base. Cymes with 5' Mylar leader in dust -proof polyethylene bag. 1200 feet on 7" reel

LONG -PLAY #600: Extends playing time 50% over conventional tapes on same size reel. Same premium qualities as Shamrock #3CO3 but on Duoont's new miracle film Mvllr. 18010 feet on 7" reel

SOUNC PLATE #220: The super -tough tape pioneered by ORRadio, now on 1.5 mil Mylar. Used for tape -masters, and recording under adverse climate conditions, 1200 feet on 7" reel

If not available at your local dealer, write: ORRADIO INDUSTRIES, INC., Opelika, Alabama

WarId'e l.arpest Exclusive Maprettr Tape Manu/ach,re, EXPORT DIVISION: Morhan Exporting Corp., N. Y. C. IN CANADA: Atlas RADIO CORP., Ltd., Toronto. Ontario

\í

4 NO a a ape net"'

cEaE

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SAVE

Z9P ON EVERY REEL -

Here's your favorite recording tape- "SCOTCH" Brand Magnetic Tape 111 at a new low price!" SCOTCH" Brand slashes

the price from $5.50 to just $3.50! Take advantage of this giant saving to stock

up on the tape used by radio /. stations the world over. \;.r

` "SCOTCH" Brand Magnetic Tape 111 offers you superior recording results... reel -to-

`/ reel uniformity, higher u. fidelity and the exclusive new

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Só1, p0u1bM^"°áp10 "Loop-Lok" reel for easier

tI"I f threading. No wonder it's the first choice of engineers here

and in almost every country abroad!

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REG. U.S. PAT. OFF.

BRAND

Buy now. See your dealer and treat yourself and your recorder to the best in sound. And don't forget you save $2.00 on every reel!

II

Magnetic Tape 111 The term "SCOTCH" and the plaid design are registered trademarks for Magnetic Tape made in U.S.A. by MINNESOTA MINING AND it l* CO., St. Paul 6, Minn. Export Sales Office: 99 Park Avenue, New York 16, N.Y.

Documents

AAGNETI FILM á - World Radio History